Best Headphones for Mixing and Mastering Electronic Music Around £200 (2025)

By Will Betts, June 17 2025

If you want to improve your music mixing skills or try your hand at mastering your own music, you’re going to need reliable monitoring. If you’ve got about £200, then you could either get some budget monitor speakers. But, if you haven’t got your room acoustics sorted, your best option is likely a pair of headphones. And if your budget is about £200, you can afford a great pair.

In this article, you’ll learn what we think are the best headphones for mixing and mastering electronic music, plus what you should watch out for, and learn why getting a great pair of headphones is such a worthwhile upgrade.

But, before you scroll down to the list, there are a few things to consider.

Can’t I just use my AirPods?

Most mixing engineers worth their salt will check their mixes on AirPods because they’re so widely used by the public. But they’re not suited to mixing and mastering. They have a couple of major problems.

First, high latency makes it painful if you want to play in new parts, and that lag can also make it difficult to understand the impact of precise automation edits.

Second, they have a flattering, bass-heavy sound, making them a poor choice if you want to make detailed mix decisions. High-quality wired headphones designed for mixing will generally have a flatter frequency response, helping you make a mix that translates to more systems.

Can I use my DJ headphones for mixing?

If you have a pair of DJ headphones, then you can start out by using these. However, they are generally tailored to play back at very loud levels, and tend to lean bass-heavy. There are some headphones that can work for both, such as Audio-Technica’s ATH-M50 and M60x, so skip down to those in the list below if you need them to do double duty.

Open-back vs Closed-back: What should I get?

There are two main types of headphone for mixing and mastering.

Open-back headphones have openings on the outside of the earcup, meaning sound escapes from the back of the driver. Generally, that makes for more accurate sound reproduction. The downsides are that sound leaks out of them, making them a poor choice for quiet study spaces and shared bedrooms, but also loud environments, because external sounds can get in. Importantly, bass tends to feel weaker on open-backs, due to their design. They are still generally preferred by mix engineers if you want the most accurate listening experience.

Closed-back headphones have an earcup that’s fully enclosed, blocking out exterior noise, and keeping your track from leaking into the world (or waking up a sleeping partner). These are better if you’re working in a space that’s noisy, or where you need to be quiet, or want to record your vocals without headphone spill. They also tend to sound more bassy. The drawback is that the frequency response tends to be less accurate, so you can sometimes end up chasing your tail more when mixing.

Making mixes that translate

If you’re familiar with term ‘translation’, move along. If you’re not, get familiar. ‘Translation’ means how well your mix works on other systems (consumer earbuds, speakers, car stereos, on a club PA). It’s a key component of mixing and mastering on headphones because it’s where your music meets the real world. It helps you understand the relationship between what you’re hearing in your headphones, and how that will translate into real world listening scenarios.

Why do it? Well, no headphones will give you a perfect representation of a mix. In fact, virtually no playback system – monitors, headphones or club sound system – will give you a perfectly accurate representation of your music. Each adds its own colouration. Your job when mixing and mastering to shape your tracks so the mix works no matter where it’s being played.

There is also software that compensates for the unique frequency response of each headphone model, for example, Sonarworks SoundID Reference. Using this software can be a valuable tool for improving mix translation when mixing on headphones.

A note on referencing

A tried and tested way to make sure your mix translates well is ‘referencing’. That means playing other mixed tracks to reference your own against. Ideally, choose tracks that are in the same genre, with a similar feel to your own, that you’ve heard on a club sound system. Keep a mental note of tracks that sound great when played out, and add them to your list of references. Using references will help you get in the right ballpark before you begin mix checking (translation checks) on other systems.

How we decided

In this list of the best headphones for mixing and mastering, we assessed:

Type: Open or closed-back
Who each pair is good for
Sound profile
Pros and cons to help you decide which to buy
Other key features, notable users and similar alternatives
Price

These are the best mixing and mastering headphones in 2025:

Sennheiser HD 650: Best for neutral sound
Beyerdynamic DT 990 Pro: Best for judging vocal harshness
Beyerdynamic DT 770 Pro: Best for sub-bass and tracking
Beyerdynamic DT 900 Pro X: Best open-back for bass mixing
Audio Technica ATH-M50x: Best all-rounder for mixing, tracking and DJing
Sony MDR-7506: Best budget headphone for mixing
Hifiman Sundara: Best budget planar magnetic headphone for mixing and mastering

Sennheiser HD 650

Type: Open-back

Who are the HD 650 great for? Anyone who is prone to having long production or mixing sessions. They’re great for mixing vocals, because the upper mids and high frequencies are relatively flat. That means you’re less likely to make wild EQ decisions on voices that won’t translate. Unless you’re referencing against other tracks and headphones frequently, you’ll probably want to get a copy of Sonarworks SoundID Reference or other headphone correction software.

What’s the HD 650 sound profile? The HD650s have a relatively neutral tone from about 100Hz up. They are slightly flattering for vocals, with a small dip around 2-3kHz. But importantly for electronic music, they’re a bit lacking in sub-bass.

What’s good about the HD 650? They’re among the most neutral-sounding headphones on the market, and their smoother sound, with slightly less transient detail, makes longer sessions far more bearable. They’re also extremely comfortable, even for glasses wearers.

What are the drawbacks of the HD 650? For mixing electronic dance genres, the lack of bass and sub-bass level means that it can be hard to judge the low-end and mix bass at a sensible level. Some engineers report mixing their bass far too loud because the sub-bass response isn’t there. If you’re editing vocals, the lack of deep bass means its easy to miss low end rumble and plosives. They’re also not ideal if you’re also planning to record with microphones, due to their open-back design.

What else should I know before I buy the HD 650? There are two other similar pairs of headphones with a very similar sound profile also made by Sennheiser that are also used frequently by mixing engineers. The HD 600 (£369) or the slightly more affordable Massdrop x Sennheiser HD 6XX ($199/£215 with shipping). These are known for being slightly flatter in the low-mids, but slightly less comfortable.

There’s a lot of chat online about how you need a powerful headphone amp to drive the HD 650s, but I can get decent levels out of them with just a MacBook Pro headphone output.

Price: £229

Beyerdynamic DT 990 Pro (250 Ohm)

Type: Open-back

Who are the DT 990 Pro great for? Anyone who really wants to hear a decent amount of bass, to make production a little more fun, and producers who want to make sure they’re not making their vocals overly harsh or brittle. They’re also ideal if you’re making instrumental, bass-focused tracks where a bit of wild EQ isn’t going to make your track sound unhinged.

What’s the DT 990 Pro sound profile? The DT 990 Pros are extremely bright with hyped high frequencies that some find overly harsh. Their bass and sub-bass reproduction are strong, though.

What’s good about the DT 990 Pro? The DT 990 Pros aren’t neutral at all, and that’s sort of the point. If you’re already mixing on monitors, and want to check for harshness or an overly sibilant vocal, the DT 990 Pros are a fantastic tool. Their solid bass delivery means you also get a decent sense of how your bass and sub-bass might sound on a club sound system. They’re also lightweight, comfortable, with plush ear pads, and offer just the right amount of head clamping force. They’re also sturdily built and most parts are easily replaceable.

What are the drawbacks of the DT 990 Pro? They won’t work for every genre of music. Their hyped top-end and slightly lacking mid-range mean that they’re not as useful for making critical EQ decisions, especially for your acoustic side project. And that hyped top end also can make them pretty fatiguing for long listening sessions. Their strong bass representation also means that you might end up mixing your bass too low, so keep those reference tracks handy. The slight heavy, coiled cable is permanently attached, too.

What else should I know before I buy the DT 990 Pro? The Beyerdynamic DT 990 Pros come in two varieties: 80 Ohm and 250 Ohm. The 80 Ohm version is slightly preferred by some music producers because they go louder with less powerful headphone amps (like a phone) and have a little more bass. The 250 Ohm version, which we’re talking about above, is slightly more accurate in the bass.

With some fairly serious corrective EQ from Sonarworks SoundID Reference (other products are available), you can tame those harsh high frequencies, and turn the DT 990 Pro into a really capable mixing headphone that lets you know what’s happening in the bass.

Beyerdynamic have just released the DT 990 Pro X (£169). It’s a 48 Ohm model, so it’s easier to drive loud – great for mixing on a tablet, or phone listening. It also has a detachable, straight cable, some comfort upgrades and a slightly less harsh high-frequency character.

Price: £139

Beyerdynamic DT 770 Pro (250 Ohm)

Type: Closed-back

Who are the DT 770 Pro great for? Producers who want to hear punchy bass and real sub, and also have the sound isolation to monitor vocal recordings without headphone bleed. They’re a decent choice if you can’t work on open-back headphones, and their lower price means you may still have cash to afford SoundID Reference ($69 on sale).

What’s the DT 770 Pro sound profile? These headphones have an extended and slightly hyped bass and a lot of high-end. They have a similar dip around 200Hz that the Sony MDR-7506 has, which can be a little flattering, but can lead to slightly boxy sounding mixes if you don’t reference enough. They have a very similar top-end to the DT 990 Pro, but they don’t have the same 6-7kHz sharpness and sibilant emphasis. Things are tamer on the DT 770 Pro.

What’s good about the DT 770 Pro? The DT 770 Pro is affordable, offers superb sound isolation, and has a powerful bass response making them fun to listen to (if not super accurate) when mixing electronic music. Like other Beyerdynamic designs, they’re super comfortable for long sessions and many parts are replaceable.

What are the drawbacks of the DT 770 Pro? Because of the bass emphasis, some producers struggle to get their low end right on the DT 770 Pro. They have the dreaded non-detachable cable (fixed in the updated DT 770 Pro X). They also can be fatiguing because of their more pronounced top-end.

What else should I know before I buy the DT 770 Pro? These studio favourite headphones are used by DXNBY in his video called Level Up Your Basslines with DXNBY, and by Beatport #1 producer Josh Baker in his video Building A Banger from Scratch. You may also be interested in the DT770 Pro X, which is the closed back version of the DT 900 (below).

Price: £129

Beyerdynamic DT 900 Pro X

Type: Open-back

Who are the DT 990 Pro X great for? Producers and mixers who want a flatter, more accurate low-end than the DT 990 Pro, but still like the comfort and ability to replace parts that Beyerdynamic allows.

What’s the DT 900 Pro X sound profile? The DT 900 Pro X doesn’t have quite the same high-end, brittleness as the DT 990 Pro, but is still on the brighter side for a mixing headphone. It’s also slightly less scooped in the mids making it easier to make EQ decisions.

What’s good about the DT 900 Pro X? These headphones use the same low-impedance driver as the brand new DT 990 Pro X, making them easier to drive from a tablet, phone or gaming system. They’re also far more neutral sounding in the mids than the DT 990 Pro, while still revealing vocal harshness and sibilance. The bass roll-off is a little less steep than the DT 990 Pro, which is a good thing. The bass feels punchy, but you’ll still need to reference other tracks to get your bass sounding right. Perhaps most importantly, they come with a detachable cable, which is great if don’t want heaps of extra mess on your desk.

What are the drawbacks of the DT 900 Pro? They have a truly hyped high-end, and that can be fatiguing over longer sessions. They are on the heavier side at 345g without the cable – about 70g more than the HD 650 – and that makes a difference over time.

What else should I know before I buy the DT 900 Pro? The Beyerdynamic DT 990 Pros come in two varieties: 80 Ohm and 250 Ohm. The 80 Ohm version is slightly preferred by some music producers because they go louder with less powerful headphone amps (like a phone) and have a little more bass. The 250 Ohm version, which we’re talking about above, is slightly more accurate in the bass.

Price: £199

Audio Technica ATH-M50x

Type: Closed-back

Who are the ATH-M50x great for? Producers who need an all-rounder mixing and tracking headphone with a solid bass response, no sound leakage and an easily transportable design.

What’s the ATH-M50x sound profile? The ATH-M50x has remarkably good bass performance, with some sub-bass coverage making judging kick-bass relationships easier than those headphones that don’t have quite the same low-end response. They’re also pretty flat in the mid-range, with a but of extra sheen in the top end. They’re not as bitey as the DT 990 Pros, so they won’t make you want to EQ out the top end of your hi-hats.

What’s good about the ATH-M50x? They’re fantastic value at only £129. And while they’re not a perfect headphone, they cover a lot of bases. They have extended bass and crisp high-end, to keep things exciting while producing, but they’re no so over-hyped that you make terrible mixing decisions. Their transient response is pretty tight, too, meaning you really hear the snap of your drums.

What are the drawbacks of the ATH-M50x? Sometimes those transients can be a little too snappy, and you can find yourself over-tweaking attacks. I’ve found myself over-editing minor plosives that other systems don’t reproduce, and having to add envelopers to shave off transients in female vocals that are no issue on a smoother headphone like the HD 650.

What else should I know before I buy the ATH-M50x? If you’re big into the current UKG sound, you’ll be pleased to know that Sammy Virji has been seen using them for DJing and in the studio.

The ATH-M50x headphones also come in a range of colours (the white ones are fun), they fold up, have earcups that swivel for DJ purposes, and come with three detachable cables for different scenarios.

They use the same driver as the ATM-M60x which has a pretty similar sound in an on-ear design that can also do double duty as mixing and DJ headphones.

Price: £129

Sony MDR-7506

Type: Closed-back

Who are the MDR-7506 great for? Anyone on a budget who wants a pair of industry-standard headphones with reasonable sound isolation and reliably flat mids for mixing.

What’s the MDR-7506 sound profile? The MDR-7506s have solid bass that’s accentuated but not too boomy, with a little sub. They have a small dip in the low mids (around 200-300Hz), relatively flat mids, slightly harsh upper mids, and a smooth roll-off above 10kHz.

What’s good about the MDR-7506? They’ve been around for nearly 35 years, and have outlasted many designs made to replace them. They come in under £100, which you could spend on a copy of Sonarworks SoundID Reference to improve the upper mids and, fix the slightly weird hole in the low mids. Because they’re so flat in the critical 400Hz to 2kHz range, they’re pretty great for editing vocals. They’ll make you acutely aware of sibilance, and any plosives. They’re also pretty durable and a studio icon. Because they’re super sensitive, you can drive them from virtually any source device, making them great for location recording, tablet production, and even phone-based beatmaking.

What are the drawbacks of the MDR-7506? Their design is old-school, and they’re not the most comfortable headphones on this list. Their ear cushions are also prone to shedding black plastic after a couple of years. Because of their low-mid dip, you can end up with mixes that have a bit too much energy around 200Hz, so make sure you reference other tracks often.

What else should I know before I buy the MDR-7506? Once you recognise them, you’ll see them everywhere. For years, they were the headphone of choice for mix engineer Andrew Scheps, who mixed Jay-Z’s ‘99 Problems’. There is an update to the MDR-7506 that’s been released in the last year called the MDR-M1 (£207). They’re twice the price and have a very similar tonality, but with a more modern look and a little more bass.

Price: £99

Hifiman Sundara

Type: Open-back, planar magnetic

Who are the Sundara great for? The Sundara is a great pair of neutral audiophile headphones perfect for anyone who wants to mix and master, but also lie on a sofa listening to albums from start to finish on Tidal.

What’s the Sundara sound profile? The Sundara headphones are a planar magnetic design – the only one on this list. Planar magnetic headphones work differently to regular dynamic headphones, are generally more expensive, and usually offer better low-end extension so you can hear sub-bass more accurately.

The Sundara isn’t big on sub-bass though. In fact, it’s not a million miles from the Sennheiser HD 650s, but with a little more bass and high frequency detail. Where you might describe the HD 650 as warm, lacking a little top end, you could describe the Sundara as cool neutral.

What’s good about the Sundara? They have a wider soundstage than every other headphone on this list, and a flatter, tighter, more accurate frequency response between 40Hz and 1kHz. Their planar magnetic design means they also have fantastic transient response, so you can really dial in your percussive parts with precision. You won’t miss any plosives when editing vocals, and you can hear bass notes with clarity.

What are the drawbacks of the Sundara? They have a slightly strange dip between 1 and 4kHz, which can make them sound a little dull and lead you to mix vocals a little loud without correction software. The transients are borderline too much. As it is, some people just don’t get on with planar magnetic headphones, because the transients can end up being too aggressive. But, if you’re not overly sensitive to such things, they’re among the best headphones for mixing and mastering on this list.

What else should I know before I buy the Sundara? Hifiman make some of the most affordable planar magnetic headphones on the market. Other companies that are known for using planar magnetic designs include Audeze, who are known for their LCD-3 mixing headphones (£1789), with prices starting at £400 for the MM-100.

Price: £219

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