The Best Open Back Headphones for Mixing and Mastering

Even though I still think studio monitor speakers are the top choice for mixing and mastering, I’ve found that open-back headphones are a solid alternative—especially when I’m in a space where I can’t crank up the volume or the room’s acoustics just aren’t up to par. They also come in handy when I want to hear what my mix might sound like to someone using high-end headphones.

One of the things I love is that I can pack up my headphones and take them on the road if I know I’ll be mixing in different places. They’ve also been incredibly useful for catching little issues like hisses, pops, or clicks that can slip through in a monitor mix. And when I really need to hone in on the subtle details in individual tracks, headphones give me that extra level of focus.

Out of all the different types of headphones, open-back models stand out to me because their drivers aren’t sealed in. That means less air resistance and pressure buildup, which helps avoid internal reflections and gives me a more spacious, natural soundstage.

That spaciousness is a huge help when I’m making tough panning or level calls. I treat open-back headphones as a second opinion next to my studio monitors. The downside? They don’t block out much sound, so I wouldn’t use them for tracking. But for reference, mixing, and mastering, they’ve been a crucial part of my setup. That’s why so many studios lean toward Open Back vs Closed Back Headphones for this kind of work.

Frequency Response

What I’ve learned over the years is that most headphone makers tweak their designs by rolling off the highs a bit, since treble sounds louder when it’s right next to your ears. They might also add a slight bass bump to simulate that speaker thump we’re used to.

But when I’m mixing or mastering, I want the most honest picture possible, so I try to get headphones with a flat or neutral response. That way, I’m hearing what’s really there—not an exaggerated version. Many open-back headphones also give you extended frequency range on both ends, which helps me spot deep lows or airy highs I might’ve missed otherwise.

Comfort and Durability

I’ve spent enough hours mixing to know that comfort isn’t just a luxury—it’s essential. If something’s digging into my head or heating up my ears, I lose focus fast. I find that open-back designs usually win in this area. Their breathable, open grills let sound and air pass freely, so things don’t feel so boxed in. It’s easier on the ears during those marathon sessions.

And let’s be honest, gear gets roughed up. I’ve had cables short out and headbands break at the worst times. Now, I look for models with replaceable parts like earcups and cables. A few premium headphones offer that, which means I don’t need to ditch the whole set when something wears down. I’ve also tried headphones vs earphones for long sessions, but earphones just don’t deliver the same level of sound quality or comfort.

Headphone Terminology

Clamp Force is one thing I always test. It’s all about the pressure the earcups put on your head. I want something that stays in place without pinching or feeling too loose. When it’s balanced, I can wear them for hours without even thinking about it.

Soundstage is another big one. That’s the sense of space I get—like where each instrument sits in the mix. With open-backs, the stereo image feels wider and more natural, and I’ve found that especially useful when listening to more complex or Remastered tracks.

Roll-off just refers to the gentle fade in volume that happens at the top or bottom of the frequency spectrum. I’ve noticed it in some models, especially in the highs.

Transient Response tells me how quickly a headphone driver reacts to sharp changes in sound. If the response is sluggish, the mix can feel smeared.

Impedance took me a while to fully understand. Basically, it’s how much resistance the headphones give the source. If I’m using a high-output interface, I’ll pair it with high-impedance headphones. But if I’m working from a phone or a basic interface, lower-impedance cans are easier to drive. I’ve learned the hard way that underdriven drivers sound weak and can distort when I try to crank the volume just to hear clearly.

HRTF Plugins and Studio Simulators

In recent years, I’ve experimented with plugins that simulate a studio environment in headphones. The early ones were pretty basic—they just tried to mimic the delay between your ears. But newer HRTF plugins take it a step further by accounting for the size and shape of your head.

Some of these plugins need head measurements, which sounds odd at first but really helps with realism. I’ve used Tonebooster Isone Pro, 112dB Redline Monitor, Beyerdynamic Virtual Studio, and more recently, Waves NX. While none of them can fully replace studio monitors in a well-treated room, they’re great tools for alternate referencing.

I think of them like palate cleansers—when I need a fresh perspective or want to double-check how loud certain layers feel in a simulated space. They’ve genuinely helped some of my mixes translate better across different playback systems. I usually go back to mixing without them once I’ve done that initial check.

Frequently Asked Questions

Do headphones matter for mixing?
Absolutely. I’ve done full mixes and masters on just headphones. It takes time to get used to how your particular pair sounds, but once you know them inside and out, you can get surprisingly accurate results.

Are open back headphones better for mixing?
In my experience, yes—especially for spatial clarity. Open-backs give me a wider soundstage that makes panning and layering easier. They still don’t match the feel of a well-placed monitor setup, but they get close enough for confident mixing decisions.

Why shouldn’t you mix on headphones?
Headphones can mess with your perception of space. The stereo field feels different compared to speakers, and panning can be deceptive. Some open-backs come close to mimicking monitors, but I still recommend checking your mixes on real speakers when possible. That said, if you’re like me and often work in untreated rooms, the right headphones—like the ones listed above—can get the job done. I’ve also had solid results from runner-ups like the Sony MDR-MV1 and Philips Fidelio X2HR.

How loud should headphones be for mixing?
There’s no one-size-fits-all answer here. I like to listen at different volumes throughout a session. That helps me account for the Fletcher-Munson frequency curve. I learned from guys like Chris Lord-Alge, who mixes at lower levels on speakers to hear how elements sit together more honestly. I do the same thing now—low volume mixing works just as well with a good pair of open-back headphones.