We’ve tested nearly 200 headphones for this guide and considered just over a hundred more, so we can’t include everything here. If you have questions about a specific model, please reach out to us, and we’ll be happy to share our thoughts. There are a lot of good headphones in this category; several headphones listed here were edged out based on one of the criteria we listed in our How we picked and tested section.

AKG K240 Studio: This is a professional model with a design that dates back to the 1970s. In our tests it had a strong lower-treble boost and not much bass, and it seemed to be voiced to highlight the flaws in a mix so they’re easier for engineers to hear. Although it’s nicely made for its under-$100 price and has a cool retro vibe, it’s not much fun for casual music listening.

Audeze LCD-2 Closed Back: Audeze tuned the closed-back LCD-2 to match the original open-back version. To our ears, Audeze added too great a high-frequency spike in this pair’s signature sound. Hi-hat, syllables, snare hits, and string noise were especially loud, which could be fatiguing to people sensitive to very high pitches. This is a matter of preference, though.

Audio-Technica ATH-AD900X: This pair (this version and the previous, non-X version) has been a favorite of Brent’s for years due to its great comfort, spacious sound, and affordable price. Sadly, its treble-heavy, bass-light sound didn’t impress our other panelists as much, and Lauren and John both thought the winged headband that’s supposed to keep the headphones from drooping didn’t do its job.

Audio-Technica ATH-M50x: Revamped to include a detachable cable, this cult favorite has ranked among the top reviewed headphones for a long time. However, when we compared it directly with our other picks, the ATH-M50x was relatively lacking in sound and build quality. We found the high end to be tizzy and buzzy, and strings and high notes sounded tinny. We also found the bass to be painfully woofy in comparison with the mids.

Audio-Technica ATH-M70x: Our panel found that this model had less presence in the lower mids than we’d prefer, with a somewhat lispy quality to the high frequencies. As a result, the M70x headphones had an artificiality to their sound that caused them to lose out to other options.

Audio-Technica ATH-MSR7: The MSR7 headphones have an extra boost in the higher-end frequencies that, though a bit too forward for our panel, is often perceived as extra detail. This pair also has an added bass boost in an effort to balance out that high end; with certain kinds of music (hip-hop, most notably) it can start to feel like the bassline is a little too intrusive.

Audio-Technica ATH-WS1100iS: We found the bass boost on this set way too wide and loud. Kick drums sounded in-your-face but dull. This pair produced an added high-end bump to try to rein in the lows, but it ended up being sibilant, with the “S” on lyrics sounding especially harsh. If you like to position yourself next to the subwoofer at a club, these headphones are for you. If not, stick with our picks.

Beats Pro: In our tests, the bass was especially forward and so resonant that unprocessed male vocals sounded as though they had reverb on them. It was as though someone had mashed all the low-frequency EQ faders all the way up.

Beyerdynamic DT 770 Pro: While half of our panel liked the sound of this set, its lack of power when used with an iPhone put it out of recommendation range (this model is intended for home or studio use with an amplifier). For Lauren, the bass was painfully loud, and the earcups were so big on her small face that she found them uncomfortable to wear for any length of time.

Beyerdynamic DT 990 (32-ohm): This set is widely regarded as one of the better options under $300, and we don’t disagree—we just don’t think it’s one of the best. For us, these headphones’ emphasis on the treble held them back, something that every one of our panelists commented on. We found the same to be true of the 250-ohm and 600-ohm versions, which in our opinion didn’t improve on the sound of the standard, 32-ohm version.

Blue Lola: Great sound, weird fit. In our tests, the Lola headphones had a little less sense of space than the original Blue headphones, the Mo-Fi, but still sounded very balanced and clear. We love how they sound. Unfortunately, the weight of the earcups makes them gradually sink lower and lower on the ears, and they just aren’t comfortable for long listening sessions. If Blue were to scrap the design and keep the sound, it would possibly have a winner.

Grado SR80e: These headphones deliver much of that big, spacious sound we heard from the HiFiMan HE400i, our open-back recommendation. Many Grado headphones sound too trebly for us, but our panel thought the SR80e sounded more balanced than most of the company’s models. You still hear all that detail and spaciousness, but you get a reasonable amount of groove, too. However, for many people, these headphones may not be comfortable enough for hours of listening. The set itself is pretty light and doesn’t mash down too hard on the ears, but the scratchy foam Grado uses for its earpads does tend to wear on the flesh after a while.

Grado SR60e: The SR80e headphones sound a lot better than this set and usually cost only $20 more.

Grado SR125e: Our panelists thought this pair had a little less bass than the SR80e, producing a balance that half of our panel found too thin and trebly. Although we commend the SR125e cans for their added spaciousness, we’d rather spend $50 less on the SR80e.

Grado SR225e: This model is similar to the SR125e yet even brighter sounding, which our panel didn’t enjoy. It uses the same cupped earpads as the SR325e.

KEF M500: We love the sound, the comfortable and attractive design, and the collapsible nature of the M500 headphones. With their on-ear fit, they’re great for glasses wearers or folks who prefer not to have earcups that completely surround their ears. This set was our former pick for the best on-ear headphones, but it’s getting harder to find in stock. If you prefer on-ear headphones and can track this pair down, it’s excellent.

Koss Pro4S: Comfortable on the head, the Pro4S feels lightweight but sturdy. Unfortunately, the sound failed to blow away our panelists. We thought the mids had a spiked, compressed sound, and we noted some intensity around the 10 kHz area that made snares and cymbals feel piercing.

Monolith by Monoprice M565: Our panelists thought that the sound of this relatively small planar-magnetic headphone set beat out that of the more expensive M1060, but everyone concluded that the sound of the M565C was clearer and more natural.

Monolith by Monoprice M1060: This planar-magnetic model closely resembles HiFiMan’s midpriced headphones and has a similar sound, but our panelists thought the M1060’s treble was unnatural, as if it were coming from inside a can.

Monolith by Monoprice M1060C: First of all—no exaggeration—the case for these things is the size of a bowling bag. It’s massive. These headphones are definitely not made for easy portability. They are also rather heavy and can slide down if you don’t sit absolutely straight. Although they sounded decent in our tests, with just a bit of a reverb quality to the low mids, they weren’t stellar enough to beat our picks.

Shure SRH1840: This pair probably would have emerged as one of our top picks but for one issue: The design doesn’t allow the earpieces to swivel on the vertical axis, so the headphones don’t adapt well to some head sizes and shapes, specifically larger ones. In our tests, the fronts of the earpads wouldn’t seal, which left some panelists with sound that offered very little bass and a too-bright treble. When those panelists pressed the earcups firmly enough against their head to create a seal, the SRH1840 sounded terrific, with an almost perfect balance of bass to midrange to treble and a wonderfully spacious and ambient sound. If you have a rather small head, this model is a real contender.

Shure SRH440: These headphones had a bit of treble sizzle that our panel found off-putting; Brent pinned it as being around 2 kHz. The rest of the sonic profile seemed rather nice, but that darn sibilant push, although it started off feeling like clarity, ended up being fatiguing. If you need a little extra high end, we suggest going with the Audio-Technica ATH-M40x, which offers more features and a less harsh upper-frequency bump for the same price.

Shure SRH840: Overall, these are nice studio headphones. In our tests, the balance was mostly flat, with a little extra peak in the trumpet/female-voice range. Unfortunately, that peak can be a bit too much for folks with sensitive ears; all of our panelists called the high end a bit harsh for everyday use. Although the price (usually under $200) is on the affordable side, we’d rather see your money invested in the superior sound or features of our picks.

Shure SRH1540: Tyll Hertsens of InnerFidelity includes these $500 headphones on his Wall of Fame, but he adds that “they tend to fall apart a bit at higher volumes—bass can get bloated and loose; treble can become a little over-emphatic.” For $500, we want better than that, and we think our readers do, too.

Sony MDR-V6: Readers requested that we investigate the MDR-V6, as this model seemed identical to the Sony MDR-7506. Turns out, it wasn’t. Yes, the two models share a chassis, and the MDR-V6 is difficult to distinguish visually from the MDR-7506 (the MDR-V6 has a red sticker rather than a blue one on the earcups, plus a silver-tone jack rather than a gold-plated one). However, all of our reviewers said that the MDR-V6 had far more bass and a notably peaked sonic response, and it also lacked the depth of sonic field that the MDR-7506 offers.

Sony MDR-1AM2: The design is super lightweight and comfy; you could easily wear these headphones all day. Unfortunately, our panel discovered that the sound had way too much bass and a spike in the highs around 9 kHz that was piercing and off-putting, as it overemphasized any rattle or recording flaw.

Sony MDR-7510: Wirecutter readers asked that we check out the MDR-7510, which had a lot of great Amazon reviews. We found that the MDR-7510 had an especially spiky, uneven high end. Our entire expert panel found the highs to be too much. “Sibilant, hissy, and sizzly” were descriptors that everyone used, and the uneven high end made everything from the mids up (guitar, strings, and horns) sound “tinny.” We also noted an intensely boosted, unrefined, and overbearing bass, which gave the MDR-7510’s sound a “boom and sizzle” quality. Interestingly, because of the oblong, oval shape of the earcups, they could sit higher or lower on your ears depending on the size of your head, which could alter the sound. But in our opinion, no amount of repositioning made this Sony model actually sound good.

Sony MDR-7520: A reader-requested model, these professional headphones look like the big sibling of the MDR-7506. We love that the MDR-7520 has a removable cable, and in our tests this pair sounded as though it had higher-quality drivers, but unfortunately they weren’t tuned as evenly as those on the MDR-7506. The bass was very forward and had a bloated quality, and the highs could be piercing. It’s a bummer—a few tweaks to the tuning, and these headphones might be a favorite.

V-Moda Crossfade M-100: The durable design is so well built that you’re likely to have a tough time noticing anything else. But Tyll Hertsens of InnerFidelity writes, “I would have preferred the bass boost to happen about 100Hz lower” and notes that he found the midrange to be lacking.

V-Moda XS: This pair is built like a tank—sturdy, well crafted, and customizable. But the sound had some colorations, with a boosted bass, some ups and downs in the mids, and a rolled-off treble; it wasn’t natural, but it wasn’t objectionable, either. On top of that, the clamping force can really cause your ears to ache when you’re listening over long periods, especially if you don’t have a small skull. If you like the sound of V-Moda headphones, you will like the XS’s sound; it’s the tight fit that bumped this pair off our list of top options.