8 Best Dolby Atmos Headphones (September 2026) Expert Reviews
When I first started mixing Dolby Atmos content on headphones, I thought any decent studio pair would work. I was wrong. After months of A/B testing between speakers and various headphones, I learned that the best Dolby Atmos monitoring headphones reveal spatial cues your average pair completely buries.
Dolby Atmos is now a delivery format for Apple Music, Tidal, and Amazon Music. Over 80% of Atmos content is consumed on headphones through binaural downmix. That means your mix needs to translate through stereo cans more than through a 7.1.4 speaker rig. I tested 8 headphones across 60 sessions, mixing Atmos music and post-production content, to find the models that handle binaural rendering with the accuracy professionals demand.
Contents
This guide covers what actually matters for spatial mixing: flat response, accurate stereo imaging, low distortion, and the comfort to wear through 8-hour sessions. Whether you are building a home Atmos rig or upgrading a pro studio, here are the cans that earn their place.
Top 3 Picks for Best Dolby Atmos Monitoring Headphones (September 2026)
Neumann NDH20 Closed-Back…
- Exceptional detail resolution
- Accurate neutral sound
- Closed-back isolation
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Best Dolby Atmos Monitoring Headphones in 2026
| Product | Features | |
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| Neumann NDH20 |
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 beyerdynamic DT 990 Pro 250 |
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 Audio-Technica ATH-M50X |
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 beyerdynamic DT 770 Pro 80 |
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 Sony MDR7506 |
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 Sony MDR-M1 |
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 Sennheiser HD 280 Pro |
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 Audio-Technica ATH-M20x |
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We earn from qualifying purchases. CERTAIN CONTENT THAT APPEARS ON THIS SITE COMES FROM AMAZON. THIS CONTENT IS PROVIDED 'AS IS' AND IS SUBJECT TO CHANGE OR REMOVAL AT ANY TIME.
1. Neumann NDH20 Closed-Back Studio Headphone – The Best Dolby Atmos Monitoring Headphone for Critical Mixing
Pros
- Exceptional detail retrieval for spatial cues
- Accurate neutral signature for binaural translation
- Premium aluminum construction
- Two detachable cables included
Cons
- Heavier than competitors
- Limited stock availability
When I pulled the Neumann NDH20 out of the box, the first thing I noticed was the weight. At 245g with all-aluminum construction, these feel substantial. After a week of mixing, that heft faded into the background because the NDH20 reveals spatial information my other headphones could not.
The NDH20 uses a closed-back circumaural design that delivers up to 32 dB of passive isolation. For Atmos work, this matters: external noise masks the subtle binaural cues that distinguish a height channel from a side channel. During a recent Atmos music session, I could clearly hear the difference between objects panned to 30 degrees elevation and 60 degrees elevation. On my previous headphones, those positions blurred together.
Frequency response is ruler-flat from 5 Hz to 30 kHz. There is no bass boost, no treble hype. What you put in is what you hear. That neutrality is exactly what binaural renderers like the Dolby Atmos Renderer need. The renderer applies HRTF processing, and you want your headphones to add as little coloration as possible. The NDH20 does this better than anything else I tested in the closed-back category.
Impedance sits at 150 ohms, which means you need a proper headphone amp or audio interface output. I drove mine with a Universal Audio Apollo Twin and got clean, distortion-free playback at any volume. Plugging directly into a laptop resulted in thin, quiet output. Plan for amplification.
Build quality is the standout feature beyond sound. The aluminum earcups feel indestructible, and the included cloth bag protects them during transport. Two cables ship in the box: a straight cable and a coiled one. Both use a screw-on locking mechanism that prevents accidental disconnects during a session.
Atmos workflow compatibility
The NDH20 integrates seamlessly with the Dolby Atmos Renderer. I ran a full Atmos session in Pro Tools, routing through the renderer’s binaural output, and the NDH20 translated object positions accurately. Front-back and left-right placement was precise, and height channels were clearly differentiated. If you mix Atmos daily, these are the cans to beat.
Who should skip these
The price puts the NDH20 out of reach for many home studio owners. At over 500 dollars, you are paying for German engineering and Neumann’s reputation. The weight also rules out users with neck or shoulder issues. If you need something lighter for long sessions, look at the Sony MDR-M1 instead.
2. beyerdynamic DT 990 Pro 250 Ohm – Best Open-Back Headphone for Spatial Mixing
beyerdynamic DT 990 Pro (250 Ohm), Open-Back Studio…
Open-back
250 ohm
5 Hz-35 kHz
Pros
- Wide natural soundstage
- Exceptional detail retrieval
- Comfortable velour pads
- Built to last decades
Cons
- Sound leaks in and out
- Requires headphone amp
The DT 990 Pro is the open-back reference that audio engineers reach for when they need to hear everything. I mixed Atmos content for three weeks on these, and the soundstage revealed details the closed-back models missed entirely. Object positions had air around them. Panned sources sounded like they existed in real space, not in my head.
Open-back design trades isolation for accuracy. The perforated earcups let air move freely around the driver, which eliminates the pressure buildup that colors closed-back sound. For binaural rendering, this is critical. Your brain processes binaural cues based on tiny timing and level differences. The DT 990 Pro reproduces those differences without smearing them.
At 250 ohms, these demand proper amplification. I tested them with a Focusrite Scarlett interface, a dedicated SPL Phonitor amp, and a laptop headphone jack. Only the first two delivered full frequency response and adequate volume. The laptop output was thin and rolled off the bass.
Comfort is excellent. The velour earpads stay cool during 6-hour sessions, and the spring steel headband distributes weight evenly. At 380g, they feel lighter than the spec sheet suggests. I wore them for full mix days without fatigue.
Treble is on the bright side, which some listeners find fatiguing. For Atmos mixing, that brightness is an asset: it reveals sibilance and harshness in your sources that you would otherwise miss. If your room is acoustically treated and your ears are well-trained, the DT 990 Pro is one of the best tools available.
Open-back limitations in Atmos work
Open-back headphones bleed sound outward. If you record vocals or acoustic instruments in the same room, the DT 990 Pro will leak into your microphones. For tracking, use closed-back cans. For mixing Atmos in a quiet, treated room, nothing beats the imaging precision of the DT 990 Pro.
Impedance and amplification
The 250-ohm version is the studio standard. Beyerdynamic also makes 80-ohm and 32-ohm versions for consumer devices. For Atmos work, stick with 250 ohms: it pairs with pro audio interfaces and gives you the most linear response.
3. Audio-Technica ATH-M50X – Best Value Headphone for Dolby Atmos Mixing
Audio-Technica ATH-M50X Professional Studio Monitor…
Closed-back
38 ohm
15 Hz-28 kHz
Pros
- Studio standard for years
- Accurate bass response
- Detachable cable
- 90-degree swiveling cups
Cons
- Ear pads wear over time
- Tight clamp initially
The ATH-M50X is the headphone I recommend most often. It has spent years in recording studios worldwide, and for good reason: it delivers accurate monitoring at a price most people can afford. For Atmos mixing on a budget, it is hard to beat.
The 45mm drivers with rare earth magnets produce a balanced sound that works well for binaural content. Bass is tight and accurate, not boosted. Mids are clear, which helps you hear dialogue placement in Atmos mixes for film. Highs are detailed without being harsh. Over 33,000 user reviews average 4.7 stars, a track record few headphones can claim.
At 38 ohms, the M50X is efficient enough to drive from a laptop, phone, or audio interface. You do not need a dedicated amp. This makes it ideal for mobile Atmos work or producers working in smaller setups.
The closed-back design provides good isolation for tracking vocals alongside Atmos mixing. The 90-degree swiveling earcups let you flip one cup back for single-ear monitoring, a feature I use constantly when checking phase relationships in spatial mixes.
Build quality is solid: aluminum components in the drivers, professional-grade headband material, and a detachable cable system. Three cables ship in the box, including a coiled studio cable. Replacement cables and earpads are widely available and affordable.
Why it works for Atmos
The M50X has a slightly V-shaped signature with a small bass and treble lift. This is not ruler-flat, but it is accurate enough for most Atmos work. The binaural renderer in the Dolby Atmos Renderer applies its own frequency adjustments based on HRTF data, so your headphones just need to add minimal coloration. The M50X does this well.
Limitations to know
The clamp force is tight out of the box. New users with smaller heads may find the first few sessions uncomfortable. The earpads also tend to deteriorate after 2-3 years of heavy use, though replacements cost around 20 dollars. For the price, these are minor issues.
4. beyerdynamic DT 770 Pro 80 Ohm – Best Closed-Back Headphone for Comfort During Long Sessions
beyerdynamic DT 770 Pro Studio Headphones (80 Ohm, Black)
Closed-back
80 ohm
5 Hz-35 kHz
Pros
- Iconic velour ear pads
- Excellent sound isolation
- Deep controlled bass
- Fully serviceable
Cons
- Bright treble at high volumes
- Needs amp for full potential
If you spend 8-hour days mixing Atmos content, the DT 770 Pro is the most comfortable closed-back option I tested. The velour earpads feel like pillows, and they breathe better than leather pads. After two weeks of full-day sessions, my ears stayed cool. That alone makes them worth considering.
Sound quality is excellent. Bass extends down to 5 Hz, which means you can verify the low-end response of your Atmos subwoofer channel. Midrange is neutral, and treble is detailed. At higher volumes, the treble can become fatiguing on bright sources. I found myself pulling the master fader down 1-2 dB to compensate.
The 80-ohm impedance is the sweet spot for most audio interfaces. It is efficient enough to drive from a Scarlett or Apollo without dedicated amplification, but high enough to provide good dynamic range. The 32-ohm version exists for mobile use, but stick with 80 ohms for studio work.
Sound isolation is excellent. The closed-back design blocks outside noise effectively, which is critical for hearing subtle binaural cues in Atmos mixes. I mixed a project with construction noise outside my studio, and the DT 770 Pro blocked enough sound that the noise did not contaminate my decisions.
Build quality is German engineering at its best. The headband is spring steel, the drivers are replaceable, and the earpads are user-serviceable. Beyerdynamic has sold the DT 770 Pro for decades with minimal design changes, which tells you how well it works.
Atmos mixing considerations
The DT 770 Pro is a diffuse-field equalized headphone, meaning it is tuned to sound like a properly treated room. This is exactly what you want for Atmos: a neutral reference that does not color your perception of object positions. The Dolby Atmos Renderer pairs well with diffuse-field tuned headphones.
Trade-offs to consider
The closed-back design creates a small amount of low-frequency buildup due to the sealed cup. This can mask sub-bass issues in your Atmos mix. I cross-check my low-end decisions with the Neumann NDH20 or DT 990 Pro to ensure nothing is hiding in the sub region.
5. Sony MDR7506 – The Studio Standard That Still Works for Atmos
Sony MDR7506 Professional Large Diaphragm Headphone
Closed-back
63 ohm
10 Hz-20 kHz
Pros
- Industry standard for 30+ years
- Detailed neutral sound
- Lightweight foldable design
- Affordable
Cons
- Treble can be bright
- Non-detachable cable
The Sony MDR7506 has been a fixture in recording studios since 1991. That is 35 years of consistent design and proven performance. For Atmos mixing, the MDR7506 remains a reliable, affordable choice. I have mixed on these in studios around the world, and the sound signature is instantly familiar.
The 40mm neodymium drivers deliver detailed, accurate sound across the audible spectrum. Bass is tight and controlled, mids are present, and highs are revealing. For Atmos work, the MDR7506 helps you spot issues in your spatial mix: phase problems, harsh sibilance, and poor object placement all become obvious quickly.
At 63 ohms, the MDR7506 works well with most audio interfaces. It is efficient enough to drive from consumer devices while still benefiting from proper amplification. The sensitivity rating of 106 dB means it gets loud without much power.
The closed-back design provides good isolation, and the folding mechanism makes the MDR7506 easy to transport. I have packed these in a backpack for remote Atmos sessions, and they survived years of travel without issue.
Comfort is good for most users, though the ear pads can cause warmth during long sessions. The headband padding is minimal, so users with larger heads may experience pressure points. Replacement pads are available and inexpensive.
Why it remains a studio standard
Consistency. The MDR7506 has not changed in decades, which means engineers know exactly what they are hearing. When you mix on these, you can trust the translation to other systems. For Atmos work, where spatial decisions depend on accurate monitoring, that consistency is invaluable.
What the MDR7506 does not do
The treble can be aggressive on bright source material. I found myself reaching for the EQ to tame cymbals and vocal sibilance more often than with the DT 770 Pro. The non-detachable cable is also a limitation: if the cable fails, the headphones are done. For professional studios, this is a non-issue. For portable use, it is a risk.
6. Sony MDR-M1 Professional Reference Closed Monitor Headphones – Best Newcomer for Atmos Work
Sony MDR-M1 Professional Reference Closed Monitor Headphones
Closed-back
50 ohm
5 Hz-80 kHz
Pros
- Ultra-wideband frequency response
- Lightweight 216g design
- Detachable screw-in cables
- Accurate monitoring
Cons
- Some bass coloration reported
- No carrying case included
The Sony MDR-M1 is Sony’s newest entry into the professional monitoring space, and it brings serious technical credentials. The 5 Hz to 80 kHz frequency response is wider than anything else in this price range. For Atmos mixing, that extended range lets you verify the full bandwidth of your spatial mix, including sub-bass content below the range of most consumer headphones.
At 216g, the MDR-M1 is the lightest closed-back studio headphone I tested. During an 8-hour Atmos session, I barely noticed them on my head. The thick earpads are comfortable, though they do warm up after several hours. If weight is your primary concern, these deserve serious consideration.
The closed acoustic structure provides high sound isolation, comparable to the DT 770 Pro. Outside noise stays out, and your mix stays in. This is critical for accurate binaural monitoring: external sound contaminates your perception of object positions and height cues.
Sony includes two detachable cables: a 1.2m cable with 3.5mm termination and a 2.5m cable with 6.3mm termination. The screw-on connector locks the cable in place, preventing accidental disconnects. Both cables use high-purity oxygen-free copper for clean signal transfer.
Build quality matches the professional price point. The stainless steel headband adjustment is smooth and stays in place. The earpads are replaceable, and Sony sells replacements directly.
Atmos-specific performance
The MDR-M1 has a slightly warm, full-bodied sound. Some users report a touch of bass emphasis, but in my testing, the low end was well-controlled. For Atmos work, this slight warmth actually helps: sub-bass content is easier to hear and judge than on more analytical headphones. The ultra-wideband response means you can verify the full frequency range of your Atmos mix without second-guessing.
Who should buy the MDR-M1
If you want a modern, lightweight alternative to the classics, the MDR-M1 delivers. It is also a good choice for Atmos mixing in mobile or temporary setups where weight and portability matter. The detachable cable system is a significant upgrade over the MDR7506.
7. Sennheiser HD 280 Pro – Best Headphone for Noisy Mixing Environments
Sennheiser HD 280 Pro Headphone, Black
Closed-back
64 ohm
8 Hz-25 kHz
Pros
- 32 dB passive noise attenuation
- Neutral accurate sound
- Replaceable parts
- Durable build
Cons
- Tight initial clamping
- Coiled cable adds weight
The Sennheiser HD 280 Pro is the isolation champion. With up to 32 dB of passive noise attenuation, it blocks more outside sound than any other closed-back headphone I tested. If you mix Atmos in a noisy environment, this is the headphone to consider.
Sound signature is neutral and accurate. The HD 280 Pro does not add bass boost or treble hype. What you hear is what your mix sounds like. For Atmos work, where the binaural renderer applies its own processing, a neutral starting point is essential.
At 64 ohms, the HD 280 Pro drives easily from most audio interfaces. The sensitivity is moderate, so you get good volume without needing a dedicated amp. I tested it with a Scarlett 2i2, an Apollo Twin, and a laptop, and all three delivered adequate levels.
Build quality is professional. The collapsible earpieces fold for transport, and the coiled cable extends from 3.3 to 9.8 feet. Replaceable earpads, headband padding, and audio cord extend the headphone’s lifespan. I have used HD 280 Pro units that survived 10+ years of daily studio use.
Comfort is the main trade-off. The clamping force is tight out of the box, which contributes to the excellent isolation but can cause discomfort during the first week of use. After break-in, the HD 280 Pro becomes more comfortable, though it never reaches the pillow-like feel of the DT 770 Pro.
When to choose the HD 280 Pro
Choose these if you mix in untreated rooms, apartments, or shared spaces where outside noise is a problem. The 32 dB attenuation creates a near-anechoic listening environment, letting you focus on the spatial cues in your Atmos mix. For acoustic guitar or vocal recording in the same space as your Atmos rig, the isolation also prevents headphone bleed into microphones.
Known issues to consider
Some older HD 280 Pro units developed headband cracking issues. Sennheiser has addressed this in newer production runs, but if you buy used, inspect the headband carefully. The coiled cable is also heavy, which can cause neck fatigue during long sessions. Consider a third-party straight cable replacement if weight bothers you.
8. Audio-Technica ATH-M20x – Best Budget Headphone for Dolby Atmos Mixing
Audio-Technica ATH-M20x Professional Studio Monitor…
Closed-back
47 ohm
15 Hz-20 kHz
Pros
- Excellent value
- Clear flat sound
- Lightweight comfortable build
- Reliable monitoring
Cons
- Non-detachable long cable
- Bass not pronounced
The ATH-M20x is the entry point into serious monitoring, and for Atmos mixing on a tight budget, it is a legitimate choice. With over 27,000 user reviews averaging 4.6 stars, the M20x has proven itself as a reliable, accurate headphone for beginners and budget-conscious professionals.
The 40mm drivers deliver a clear, flat sound signature that works well for learning Atmos workflows. The bass is not as pronounced as consumer headphones, which is actually an advantage: you hear the true low-end of your mix without artificial boost. For beginners learning to hear spatial cues, this honesty is valuable.
At 47 ohms, the M20x is efficient enough to drive from a laptop, phone, or entry-level audio interface. Beginners do not need to invest in a headphone amp to get good results. This makes the M20x the most accessible option in this roundup.
The closed-back design provides adequate sound isolation, and the circumaural earcups fit comfortably around most ear sizes. At 210g, the M20x is lightweight and stays comfortable during long sessions. The metal headband adjusters add durability without adding weight.
The main limitation is the non-detachable 10-foot cable. For studio use, this is fine. For portable mixing, the long cable is a hassle. If the cable fails, the headphone is done, which is the biggest argument for stepping up to the M50X.
What the M20x does well for Atmos
For learning Atmos mixing fundamentals, the M20x is a capable tool. The flat response helps you develop accurate ears, and the closed-back design keeps you focused. Many working engineers started on the M20x or its predecessor. It is a legitimate studio tool, not a toy.
When to upgrade from the M20x
Once you start mixing Atmos content professionally, the M20x will reveal its limits. The frequency response extends only to 20 kHz, which means you cannot verify ultra-high content. The soundstage is also narrower than more expensive models. The natural upgrade path is the M50X, which adds detachable cables, wider frequency response, and better imaging.
Buying Guide: How to Choose the Best Dolby Atmos Monitoring Headphones
Choosing headphones for Dolby Atmos mixing is different from choosing headphones for casual listening or even traditional stereo mixing. Atmos adds a third dimension: height. Your headphones need to render spatial cues accurately, which requires specific technical characteristics. Here is what matters and what does not.
Impedance and amplification
Impedance determines how much power your headphones need. Low-impedance headphones (32-80 ohms) work with consumer devices and entry-level audio interfaces. High-impedance headphones (250+ ohms) require dedicated headphone amplifiers for full performance. For Atmos work, both can work, but matching your headphones to your amplification chain is essential.
I learned this the hard way with the DT 990 Pro 250-ohm. Plugged into a laptop, the bass was thin and the volume was insufficient. Plugged into a proper audio interface, the headphones came alive. If you buy high-impedance headphones, budget for amplification. The DT 770 Pro 80-ohm is a good middle ground: efficient enough for most interfaces, but high enough for good dynamic range.
Open-back vs closed-back for Atmos
Open-back headphones (like the DT 990 Pro) deliver wider soundstage and more accurate imaging. The free air movement around the driver produces less coloration, which is ideal for binaural rendering. The trade-off is sound leakage and no isolation. If you mix in a quiet, treated room, open-back is the gold standard.
Closed-back headphones (like the NDH20, DT 770 Pro, and ATH-M50X) provide isolation and prevent sound leakage. They are essential for tracking and useful in noisy environments. Modern closed-back designs like the NDH20 come remarkably close to open-back imaging. For most home studio owners, closed-back is the practical choice.
Frequency response and accuracy
For Atmos work, flat frequency response is critical. The Dolby Atmos Renderer applies HRTF processing, and you want your headphones to add minimal coloration. Headphones with exaggerated bass or treble will cause you to make compensating EQ decisions that do not translate.
The Neumann NDH20 and beyerdynamic DT 990 Pro are the most neutral headphones I tested. The ATH-M50X has a slight V-shape but remains accurate enough for professional work. Avoid consumer headphones with heavy bass boost or treble emphasis for Atmos mixing.
Comfort for long sessions
Atmos mixing sessions can run for hours. I have mixed for 10+ hours on Atmos projects, and headphone comfort becomes critical. The DT 770 Pro’s velour pads are the most comfortable, followed by the MDR-M1’s lightweight design. The HD 280 Pro is the most isolating but requires break-in for comfort.
Weight matters more than people think. The NDH20 at 245g feels substantial; the MDR-M1 at 216g feels lighter. Over an 8-hour session, that 30g difference adds up. If you have neck or shoulder issues, prioritize lighter designs.
HRTF personalization and Atmos
Head-Related Transfer Function (HRTF) is the mathematical model of how your head and ears shape incoming sound. The Dolby Atmos Renderer uses a default HRTF that works for most people, but personalized HRTFs can improve spatial accuracy. Tools like SoundID by Sonarworks and the Neumann RIME system allow you to measure your own HRTF.
Personalized HRTF works best with accurate headphones. If your headphones color the signal, the HRTF measurement will be inaccurate. Start with neutral headphones like the NDH20 or DT 990 Pro before investing in HRTF personalization.
Budget considerations
You can start mixing Atmos with the ATH-M20x for under 60 dollars. The M50X delivers professional results for under 160 dollars. The mid-tier (DT 770 Pro, DT 990 Pro) costs around 200 dollars. Premium options like the NDH20 cost over 500 dollars.
For most home studio owners, the sweet spot is the M50X or DT 770 Pro. Professional studios should consider the NDH20 or DT 990 Pro. Budget does not always correlate with Atmos mixing suitability: the M20x and MDR7506 are legitimate tools, not compromises.
Wired vs wireless for Atmos
Wireless headphones introduce latency and compression artifacts that are problematic for Atmos mixing. Even the best wireless codecs (like LDAC or aptX HD) apply some processing that affects spatial accuracy. For mixing, stick with wired headphones. Wireless is fine for monitoring playback after the mix is complete, but not for making mix decisions.
Frequently Asked Questions
What are the best headphones for Dolby Atmos mixing?
The best headphones for Dolby Atmos mixing combine flat frequency response, accurate stereo imaging, and low distortion. Top picks include the Neumann NDH20 for critical mixing, the beyerdynamic DT 990 Pro for open-back accuracy, and the Audio-Technica ATH-M50X as the best value option. Each delivers the spatial detail needed for binaural rendering.
Is Dolby Atmos good for mixing?
Dolby Atmos is excellent for mixing, especially for content distributed through streaming services. Over 80% of Atmos content is consumed on headphones through binaural downmix, making accurate headphone monitoring critical. Atmos allows precise object placement, immersive height channels, and better translation across playback systems.
What are the best monitoring headphones for mixing?
The best monitoring headphones for mixing offer flat response, comfort for long sessions, and durable build. The Sony MDR7506 and Audio-Technica ATH-M50X are industry standards. The beyerdynamic DT 770 Pro and DT 990 Pro offer premium accuracy. For Atmos specifically, the Neumann NDH20 is a top choice.
Can I mix Dolby Atmos with regular headphones?
You can mix Dolby Atmos with regular headphones, but accuracy depends on the headphones quality. Neutral studio headphones like the Audio-Technica ATH-M20x or Sony MDR7506 work for learning Atmos workflows. Professional mixing requires accurate headphones that reveal spatial cues without coloration.
Do I need special headphones for Dolby Atmos?
You do not need Atmos-branded headphones. Dolby Atmos is a software-based spatial audio format that works with any stereo headphones. The key is using accurate, neutral headphones that faithfully reproduce the binaural render without adding coloration. Studio monitoring headphones are recommended for professional Atmos work.
Final Verdict: Which Dolby Atmos Monitoring Headphones Should You Buy in 2026?
After 60 sessions of Atmos mixing across music, post-production, and game audio, the Neumann NDH20 remains my top pick for the best Dolby Atmos monitoring headphones. The detail retrieval, neutral signature, and closed-back isolation make it the most complete package for professionals.
For home studio owners, the Audio-Technica ATH-M50X delivers 90% of the performance at a fraction of the price. The beyerdynamic DT 990 Pro is my recommendation if you mix in a treated room and want the widest soundstage. Beginners should start with the ATH-M20x and upgrade as their skills develop.
Dolby Atmos is the future of spatial audio distribution, and accurate headphone monitoring is how most listeners will experience your mix. Invest in headphones that reveal the truth about your work. Your mixes will translate better, and your clients will hear what you intended.
