Sennheiser HD 280 Pro review

One of the greatest things to come out of the modern age of home recording is the demand for accessible gear. So-called budget studio headphones used to cost well over $200 USD, but the 1980s are long gone, and what used to be tough-to-reach purchases are much more accessible to more people. The Sennheiser HD 280 Pro has long been a favorite of musicians to monitor their tracks, and while there are some tradeoffs, it might be the headset for you too.

Editor’s note: this Sennheiser HD 280 Pro review was updated on April 5, 2022, to add context to the sound quality section and add an FAQ section.

What’s it like to use the Sennheiser HD 280 Pro?

The Sennheiser HD 280 Pro is the epitome of boring, utilitarian design; inside and out, there really are no fancy features to speak of. All you do to start up is plug the 3.5mm jack in and you’re ready to go. You might even go wild and use the included 1/4 inch adapter, but that’s really it. The markers to identify which side is left and which is right are only very faintly marked on the inside of the hinges in a tiny font, so you just have to remember that the wire hangs from the left.

Related: Why I’m sticking to wired headphones

Regardless of how boring the headphones look, the HD 280 Pro makes its name on durability and utility. That’s not to say Sennheiser forgot about comfort, as the HD 280 Pro has ample padding where it counts. You shouldn’t run into much discomfort even after several hours wearing glasses, besides some heat build-up. The clamping force is just right, at least for my relatively small head. The closed-back ear cups establish a decent seal, which brings enough isolation to prompt an “excuse me?” when someone out of view asks a question, but by no means are these active noise canceling headphones.

Because the HD 280 Pro is relatively affordable it lacks some luxuries. The wire on the left ear cup is not removable, but the coiled cable does a lot to alleviate stress on the solder points. You shouldn’t have to replace it unless you straight-up abuse the thing.

Is the HD 280 portable?

The headset is rather large, but the ear cups swivel, and the sides articulate to make the HD 280 Pro’s footprint a tad smaller. It’s not a headset marketed for the commuter, and Sennheiser doesn’t include a case. In addition, the jack is substantial and could get in the way or not fit with a phone case, so the answer is not really.

The sheer weight of the cable managed to drag my phone off the desk twice, so I can’t picture a scenario in which you’d want to take these headphones on a bus. Commuting with studio headphones kind of misses the point anyway; there’s a time and a place for monitors, and the subway ain’t usually it. The headphones’ matte plastic exterior means you don’t need to worry much about scratching or marking it up, at least.

How well does the Sennheiser HD 280 Pro block out noise?

The Sennheiser HD 280 Pro is not a noise canceling headset, so any noise that gets blocked out is due to the seal of the earpads to your head. Closed-back headphones tend to perform reasonably well compared to open-back ones in this regard. The HD 280 Pro blocks out high-frequency noise handily, while mids are only deadened by half to three-quarters in loudness (the higher the pitch, the better the headphones block out noise). Typical of non-ANC headphones, the HD 280 Pro does not attenuate low frequencies all that well.

How does the Sennheiser HD 280 Pro sound?

The headphones have a fairly accurate frequency response with a few minor deviations from our house curve. You won’t hear any over-emphasized sounds with the HD 280 Pro, which makes it a strong candidate for mixing and monitoring recordings in a studio. If you were thinking this was a pair of consumer Sennheiser headphones, you’ll get something a bit different than what you expected.

Lows

Technically, Sennheiser states that the HD 280 Pro has a frequency response of 8Hz-25kHz, which could give the impression that it has strong bass, but it is not a “basshead” headset. First off, people can’t hear below 20Hz, so the 8Hz number is somewhat irrelevant. Secondly, there’s a drop between 50-100Hz, which can make some lower-pitched rumbles sound weirdly quiet compared to its neighboring low notes. Like a valley, it pops back up in volume on either side. Because studio curves aim for neutrality the sub bass is a little louder than ideal, however, it’ll hardly blow your ears out. Not much happens musically below 60Hz.

Just Do You by Lord Echo (ft. Mara TK), which has a significant bass section, sounds good on the HD 280 Pro. The song isn’t bass-heavy whatsoever on the headset, so it’s easy to hear midrange notes that other headsets may mask. In other words, you’ll hear the low end percussive groove that thrusts Just Do You forward.

Related: Best headphones under $100

Anything from the 1970s or earlier that hasn’t been remastered for digital release will lack quite a lot of bass with the HD 280 Pro. Rock Your Baby by George McCrae is pretty light on the kick due to the use of an early drum machine, the Roland TR 77, but basically it has no low end thump, unless I put on the 2012 remaster. Meanwhile, the bass guitar all but disappears in the original master. With that said, listening on the HD 280 Pro makes it patently obvious at 4:32, that the stereo mixed drum machine switches to exclusively a right pan, which speaks to the headset’s detailed reproduction.

Mids

Alto singers in particular sound great on these headphones, which makes sense, given that range is typically from 180-700Hz. These frequencies are the sweet spot for the HD 280 Pro and happen to also be where the headphones most closely align with our target curve. The HD 280 Pro allowed me to hear new lyrics to songs I’d previously found imperceptible.

Highs

Falsetto and soprano voices that occupy those higher ranges sound less impressive than on other headphones. George McCrae’s smooth falsetto on Rock Your Baby lacks dimension due to this decibel drop where those higher frequencies reside. Mara TK still sounds good on Just Do You because he’s a talented singer, but the song’s vocals aren’t on par with the best headphones due to the frequency curve on the upper registers.

Some people will feel cymbals sound “hollow” coming through the Sennheiser HD 280 Pro. On tracks with a lot of fast cymbals and tambourines like What a Pity by Spook School they sound more like metal trashcan lids than a high-quality metal instrument. On other tracks, the cymbals sound a little too slow, and there are few reasons for this.

Related: The best studio headphones

The HD 280 Pro’s minor under-emphasis (compared to our studio curve) between 2-8kHz, and the steep drop above 10kHz gives the impression of a quieter cymbal due in part to lowered volume on the initial crack of the crash. This lowered volume on the initial hit (of the cymbal, or any sound in that range) to reaching peak volume the brain interprets as less attack. Having the impression of less attack is fine—sometimes desirable—on an infrequent sound. The human brain, however, can’t process this fast enough to distinguish the sounds. This makes it seem like everything bleeds together during a fast repeating sound, like multiple crash cymbals back-to-back.

What’s the Sennheiser HD 280 Pro good for?

After several hours of testing music from different genres and eras, I’ve become accustomed to the particulars of how this headset sounds and discovered that like the famously polarizing Yamaha NS10 monitors, if a song can sound good on the HD 280 Pro, then it’s well mixed. Songs that really vibe on these headphones will sound good or better on almost anything else. If you’re producing music: that’s an extremely valuable tool.

If you’re an audio engineer, a podcaster, or in a band, the Sennheiser HD 280 Pro is a versatile piece of kit. The closed-back ear cups are ideal for recording tracks, because they minimize dreaded sound leakage. The sound staging (how well you’re detecting the panning left to right) is wide for a closed-back headset, which makes it easier to pick out instruments than other closed-back options—also important when mixing.

Should you buy the Sennheiser HD 280 Pro?

If you’re looking for a solid budget-conscious reference headset, you should consider the Sennheiser HD 280 Pro. If you have a higher budget, by all means explore other options like the AKG K371, but for about $100 USD there’s a spot in every studio for the HD 280 Pro. It doesn’t have to be your main headset, but if you need a backup or a second pair to mix with or track without the pains of leakage, it’s great.

Also, I stand by my controversial statement that the Sennheiser HD 280 Pro is the studio headphone equivalent of the Yamaha NS10 monitor. Make something sound good on these headphones and it’ll sound good on most other drivers. That’s reason enough to pick up a pair.

What should you get instead of the Sennheiser HD 280 Pro?

At about the same price you can pick up the Audio-Technica ATH-M40x. It comes with removable cables that have proprietary locking mechanisms, and you can get a headset with a non-removable cable for less with the Audio-Technica ATH-M30x. The HD 280 Pro sports a slightly more accurate frequency response. Interestingly, both sets have similar features such as a drop around 80Hz and a bump around 100Hz. Whereas the HD 280 Pro has a touch too much in the sub-bass, the ATH-M40x has a notable under-emphasis. Pick your poison.

Both headphones perform similarly with passive isolation. The main difference in terms of sound is in the highs where the ATH-M40x tends to exaggerate somewhat. If used to monitor while tracking a recording, this emphasis can have its uses for vocalists hearing themselves back.

Related: Home studio recording: Everything you need to record on a budget

Frequently asked questions about the Sennheiser HD 280 Pro