I spent 60 days switching between eight different pairs of studio headphones while editing podcasts, dialogue for short films, and the occasional music mix. Some made my ears sweat after two hours. One pair revealed a background hum I never knew existed in my recordings. Another left me questioning mixes I had been confident about for months.
That experience is exactly why we wrote this guide. Consumer headphones boost bass and smooth over details so music sounds more fun. Studio headphones do the opposite. They are built for accuracy, not enjoyment, which makes them essential when you need to make critical audio decisions. If you are searching for the best studio headphones for audio editing, you need a pair that reveals problems in your audio rather than hiding them.
In this guide I will walk you through our top three picks, share a quick comparison table, then break down each of the eight models we tested. I will also explain the closed-back versus open-back debate that every audio editor eventually faces, walk through what specs actually matter, and answer the most common questions I get from readers. By the end you will know which pair matches your workflow, room, and budget.
Table of Contents
Top 3 Studio Headphones for Audio Editing (September 2026)
If you only have a minute, these three picks cover most editing scenarios. The Audio-Technica ATH-M50x earned our editor’s choice badge because it delivers accurate sound, solid isolation, and long-term comfort at a price that does not sting. The Sony MDR-7506 is the best value pick for editors who want a proven industry standard without spending much. For editors ready to invest in a long-term workhorse, the Beyerdynamic DT 770 PRO is our premium pick thanks to its velour pads and wide frequency response.
Best Studio Headphones for Audio Editing in 2026
Below is the full comparison of all eight pairs we tested. I included the key specs that actually affect editing decisions, including design type, impedance, driver size, and frequency response. Use this table to scan quickly, then read the individual reviews for the deeper breakdown.
| Product | Specifications | Action |
|---|---|---|
 Sony MDR-7506 |
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| Audio-Technica ATH-M50x |
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 Audio-Technica ATH-M40x |
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 Sennheiser HD 280 Pro |
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 Beyerdynamic DT 770 PRO |
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 Beyerdynamic DT 990 PRO |
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 Sennheiser HD 599 |
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 Sennheiser HD 600 |
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1. Sony MDR-7506 – Industry Standard for Post-Production
Sony MDR7506 Professional Large Diaphragm Headphone
Closed-back
63 Ohm
10Hz-20kHz
40mm drivers
Pros
- Accurate neutral sound for the price
- Excellent noise isolation
- Lightweight foldable design
- Industry standard in edit suites
Cons
- Non-detachable cable
- Earpads wear out after 2-3 years
The Sony MDR-7506 has been sitting on editing suite desks since 1991. I tested a pair for two weeks while cutting dialogue for a documentary, and I understand why it has stuck around. The sound signature is honest. Bass is present but not boosted, mids are clear for dialogue work, and treble has a slight emphasis that helps reveal sibilance and hiss.
At 63 Ohm impedance the MDR-7506 plays nicely from any laptop headphone jack or audio interface. You do not need a dedicated amplifier, which keeps your setup simple. The 9.8 foot coiled cable is long enough to reach across a desk without yanking the headphones off your head, although it is permanently attached.
The closed-back design blocks around 14 dB of outside noise in my testing, which is enough to silence most office distractions. The 40mm drivers reproduce the full 10 Hz to 20 kHz range, so you hear sub-bass rumble and high-frequency air. Sony includes a soft carrying case and a screw-on 1/4 inch adapter for use with pro audio gear.
For podcast and video editors on a budget, this is hard to beat. I noticed the earpads got warm during a four-hour editing marathon, and the non-detachable cable is the main durability concern. If the cable fails, you need to repair or replace the unit. Still, with 28k+ reviews averaging 4.7 stars, the MDR-7506 remains a trusted workhorse.
Who should buy the Sony MDR-7506
This headphone fits podcasters, dialogue editors, and anyone working in a noisy environment who needs reliable isolation. It is also a great first pair of studio headphones for students or hobbyists who do not want to overspend.
Who should skip the Sony MDR-7506
Engineers focused on mixing and mastering will want a wider soundstage. Editors who record in the same room should note that the long coiled cable is fixed, so accidental yanks could damage the connection over time.
2. Audio-Technica ATH-M50x – The Critically Acclaimed All-Rounder
Audio-Technica ATH-M50X Professional Studio Monitor Headphones, Black, Professional Grade, Critically Acclaimed, with Detachable Cable
Closed-back
38 Ohm
20Hz-28kHz
45mm drivers
Pros
- Exceptional clarity across the frequency range
- Three detachable cables included
- Swiveling cups for one-ear monitoring
- Lightweight at 0.64 lbs
Cons
- Earpads can get warm during long sessions
- Treble may feel bright for sensitive listeners
The Audio-Technica ATH-M50x is the pair I keep reaching for when I sit down to edit. After 30 days of daily use across podcast work, video editing, and music sessions, I gave it the editor’s choice badge because it does almost everything well. The 45mm drivers deliver exceptional clarity, the bass is accurate without being bloated, and the extended 20 Hz to 28 kHz frequency range means you hear details most consumer headphones miss.
At 38 Ohm impedance, the M50x is efficient enough to drive from a phone or laptop. You only need a headphone amp if you want extra headroom. The closed-back circumaural design blocks a solid amount of external noise, which I appreciated while editing near a noisy window AC unit.
One of the best features is the detachable cable system. Audio-Technica includes three cables in the box: a 1.2m coiled cable, a 3m straight cable, and a 1.2m straight cable. Swapping cables for different scenarios is a small detail that makes a real difference in daily use. The 90-degree swiveling earcups also make single-ear monitoring painless.
The trade-off is comfort over long sessions. After about three hours the pleather earpads got warm, and I needed a short break. Replacing the earpads with velour alternatives solves this. Build quality is solid for the price, with a metal headband and plastic cups that feel durable enough for travel.
Who should buy the Audio-Technica ATH-M50x
Audio editors, music producers, and content creators who want a versatile all-rounder. The detachable cables are a real plus for anyone who switches between setups or travels. With 33k+ reviews, this is one of the most trusted studio headphones on the market.
Who should skip the Audio-Technica ATH-M50x
Listeners with treble sensitivity may find the top end slightly sharp. If you primarily mix and master in a quiet room, an open-back option like the HD 600 may serve you better for critical listening.
3. Audio-Technica ATH-M40x – Honest Sound at a Lower Price
Audio-Technica ATH-M40x Professional Studio Monitor Headphone, Black, with Cutting Edge Engineering, 90 Degree Swiveling Earcups, Pro-Grade Earpads/Headband, Detachable Cables Included
Closed-back
35 Ohm
15Hz-24kHz
40mm drivers
Pros
- Clean and accurate sound signature
- Detachable cables included
- Lightweight at 0.53 lbs
- Lower price than M50x
Cons
- Slightly less bass extension than the M50x
- Earpads can feel tight at first
The Audio-Technica ATH-M40x is the quieter sibling of the M50x, and that is meant as a compliment. I tested this pair for a week while editing a podcast and found the sound signature slightly more neutral than its famous brother. Bass is tight and controlled, mids are honest, and treble is smooth without the slight edge you hear on the M50x.
With a 35 Ohm impedance, the M40x is easy to drive from any source. The 40mm drivers cover a 15 Hz to 24 kHz range, which is plenty for almost any editing scenario. Audio-Technica includes both a coiled cable and a straight cable, plus a protective carrying pouch and a 1/4 inch adapter.
Build quality mirrors the M50x. You get the same swiveling earcups, professional-grade padding, and detachable cable system. The main differences are slightly smaller drivers and a more conservative tuning. For editors who find the M50x a touch bright, the M40x is a smarter pick at a friendlier price.
The clamping force felt a bit tight out of the box. After a week of use it loosened up, but editors with larger heads may want to try before committing. The M40x is hard to argue with as a starter pair for audio editing at this price point.
Who should buy the Audio-Technica ATH-M40x
Beginners building their first editing setup, podcast editors on a tight budget, and anyone who prefers a smoother top end over the M50x’s brightness. This is a great entry point into studio monitoring.
Who should skip the Audio-Technica ATH-M40x
If you need maximum bass extension for music production or want the slight extra detail of the M50x, step up. Editors with larger heads may find the clamp uncomfortable at first.
4. Sennheiser HD 280 Pro – The Isolation Champion
Sennheiser HD 280 Pro Headphone, Black
Closed-back
64 Ohm
8Hz-25kHz
32dB attenuation
Pros
- Up to 32 dB of noise attenuation
- Replaceable earpads and cable
- Collapsible design for travel
- Warm natural sound signature
Cons
- Heavier than most at 1.28 lbs
- Clamping force is firm
The Sennheiser HD 280 Pro is the headphone I recommend to anyone editing in a noisy environment. Sennheiser rates the closed-back design at up to 32 dB of passive noise attenuation. In my testing that translated to nearly silent office chatter and a noticeable reduction in HVAC hum. If you have ever missed an edit because you could not hear a subtle click, this headphone solves that.
The 64 Ohm impedance means you can drive the HD 280 Pro from most audio interfaces and laptops without an amplifier. Sound signature is warm and natural, with a slightly fuller low end than the Sony MDR-7506 and a smooth top end that avoids listening fatigue.
Sennheiser built the HD 280 Pro for professional use. The earpads, headband padding, and coiled cable are all replaceable. The collapsible earpieces fold flat for transport in the included soft case. For editors working in broadcast, live sound, or field recording, this durability matters.
Two real downsides showed up during my testing. At 1.28 pounds the HD 280 Pro is heavier than most of the closed-back options here. The clamping force is also firm, which contributes to the excellent isolation but can feel tight during very long sessions. I took short breaks every two hours.
Who should buy the Sennheiser HD 280 Pro
Editors working in loud environments, broadcast professionals, and anyone who values isolation above all else. The replaceable parts also make this a smart long-term investment for working studios.
Who should skip the Sennheiser HD 280 Pro
Editors who wear headphones for four or more hours at a stretch may find the weight and clamp uncomfortable. For pure mixing and mastering in a quiet room, an open-back headphone gives more natural imaging.
5. Beyerdynamic DT 770 PRO – The Premium Long-Session Choice
beyerdynamic DT 770 PRO 80 Ohm Over-Ear Studio Headphones in Gray. Enclosed Design, Wired for Professional Recording and Monitoring
Closed-back
80 Ohm
5Hz-35kHz
Velour pads
Pros
- Velour ear pads for all-day comfort
- Massive 5Hz-35kHz frequency response
- Handmade in Germany
- Replaceable parts throughout
Cons
- Higher price than other closed-back options
- Larger size is less travel friendly
The Beyerdynamic DT 770 PRO is the closed-back headphone I reach for on days when I know I will be editing for six or more hours. The velour ear pads breathe better than any pleather alternative I have tested, and my ears stayed comfortable through a full day of dialogue editing. The DT 770 PRO feels like a tool built for professionals, which makes sense given it is handmade in Germany.
The 80 Ohm version strikes a good balance between detail and versatility. It sounds fuller and more dynamic than lower-impedance options, with a frequency response from 5 Hz to 35 kHz. Bass is tight and extended, mids are clear, and the treble has air without harshness. I heard details in familiar recordings I had previously missed.
Build quality is excellent. The headband is rugged steel with soft padding, the cups are well-damped plastic, and every part is replaceable. Beyerdynamic sells replacement ear pads, cables, and headbands directly, which extends the life of the headphone indefinitely. The single-sided 3m cable is practical for studio setups and reduces tangling.
The downsides are size and price. The DT 770 PRO is bulkier than the Sony or Audio-Technica options, so it does not fold flat for travel. The 80 Ohm version also benefits from a decent audio interface. From a phone or weak laptop jack the volume may feel low.
Who should buy the Beyerdynamic DT 770 PRO
Editors who want a closed-back headphone for long sessions, professionals who value replaceable parts and German build quality, and anyone mixing in untreated rooms who needs excellent isolation.
Who should skip the Beyerdynamic DT 770 PRO
Travelers who need a compact foldable design. If you primarily work from a phone or tablet and want maximum volume without an amp, the lower-impedance options are easier to drive.
6. Beyerdynamic DT 990 PRO – Wide Soundstage for Mixing
beyerdynamic DT 990 Pro (250 Ohm), Open-Back Studio Headphones, Black
Open-back
250 Ohm
5Hz-35kHz
Replaceable velour pads
Pros
- Wide natural soundstage for mixing
- Excellent treble detail and air
- Handcrafted in Germany
- Replaceable ear pads and cable
Cons
- 250 Ohm requires a headphone amplifier
- Sound leaks in and out
The Beyerdynamic DT 990 PRO opened my ears to what an open-back headphone can do. The soundstage is wider and more natural than any closed-back option in this roundup, which makes decisions about reverb, panning, and depth far easier. When I A/B tested a mix on the DT 990 PRO and the M50x, the open-back version revealed a stereo placement issue I had been missing for weeks.
The 250 Ohm impedance is the main practical consideration. The DT 990 PRO wants a dedicated headphone amplifier or a high-quality audio interface output. Plugging it into a phone resulted in quiet, lifeless sound. With a proper source the headphones reward you with detail, dynamics, and an airy top end that is genuinely enjoyable to edit with.
Comfort is excellent thanks to the velour pads and the same rugged headband design used on the DT 770 PRO. I edited for five-hour stretches without ear fatigue. Beyerdynamic’s reputation for replaceable parts carries over here, so this is a long-term investment.
Remember that open-back means sound leaks in both directions. Anyone in the room will hear your audio, and outside noise reaches your ears. This is a headphone for a quiet, private editing room, not a shared office or live recording situation.
Who should buy the Beyerdynamic DT 990 PRO
Mixing and mastering engineers who want open-back accuracy on a mid-range budget, anyone with a dedicated headphone amp or quality audio interface, and editors who work in a quiet private space.
Who should skip the Beyerdynamic DT 990 PRO
Editors without a headphone amplifier will not get the best out of these. Anyone who shares a room or records voice in the same space should pick a closed-back headphone instead.
7. Sennheiser HD 599 – Comfortable Open-Back Entry Point
Sennheiser HD 599 Open-Back Wired Audiophile Headphones, Ivory
Open-back
50 Ohm
12Hz-38.5kHz
Velour pads
Pros
- Lightweight at 250 grams for long sessions
- Smooth warm sound signature
- Two detachable cables included
- Easy to drive at 50 Ohm
Cons
- Open-back leaks sound in and out
- Less analytical than the HD 600
The Sennheiser HD 599 is the open-back headphone I recommend to editors who want airy sound without the hassle of a dedicated amplifier. At 50 Ohm it runs happily from a laptop, phone, or modest audio interface. The sound signature is warm and slightly smooth, which makes long editing sessions easy on the ears.
The HD 599 weighs only 250 grams, making it the lightest pair in this entire roundup. The velour ear pads are plush, the headband is well-padded, and the overall fit is gentle. I forgot I was wearing them during a three-hour music editing session, which is the highest compliment I can give a headphone.
Sennheiser includes two detachable cables: a 3m cable for home setups and a 1.2m cable for portable use. Both terminate in a 3.5mm jack with a 6.3mm adapter for pro audio gear. Frequency response stretches from 12 Hz to 38.5 kHz, so you hear deep sub-bass and high-frequency detail.
The trade-off versus the HD 600 is clarity and analytical precision. The HD 599 is warmer and more forgiving. For music production where you want to feel inspired rather than dissected, this is a feature, not a flaw. For surgical mixing decisions, the HD 600 is the better tool.
Who should buy the Sennheiser HD 599
Editors who want open-back comfort without investing in a headphone amp, music producers who prefer a warm tone, and anyone who values light weight and plush pads for long sessions.
Who should skip the Sennheiser HD 599
Engineers doing critical mastering work may want more analytical detail. Editors in shared spaces will find the open-back design impractical.
8. Sennheiser HD 600 – The Audiophile Reference
Sennheiser HD 600 Audiophile Open-Back Dynamic Wired Headphones
Open-back
300 Ohm
12Hz-40.5kHz
Oxygen-free copper cable
Pros
- Reference-level clarity and imaging
- Lightweight and fatigue-free build
- Detachable Kevlar-reinforced cable
- Two-year warranty
Cons
- 300 Ohm demands a serious headphone amplifier
- Open-back leaks sound
- Premium price
The Sennheiser HD 600 is the pair I trust when I need to know exactly what is in a mix. Used as a reference in studios for decades, this open-back headphone delivers a flat, neutral sound signature with imaging so precise you can almost feel the placement of each instrument. When I A/B tested a friend-mastered track against commercial releases, the HD 600 made problems in the low mids obvious in a way that closed-back headphones blurred.
The 300 Ohm impedance is non-negotiable. The HD 600 demands a dedicated headphone amplifier or a high-output audio interface to sound its best. Plugging into a phone resulted in quiet, lifeless audio. With proper amplification the headphones come alive with dynamics, extension, and effortless detail.
Despite the precision, the HD 600 is comfortable enough for long sessions. The open metal mesh earcups breathe well, and the plush velour pads distribute weight gently. The detachable Kevlar-reinforced oxygen-free copper cable is built to last, and Sennheiser backs the headphone with a two-year warranty.
Price is the main barrier for new editors. The HD 600 sits at the top of this roundup in price, and you also need to budget for an amplifier. For working professionals and serious hobbyists, that investment pays back in confidence. For casual editors, the HD 599 or DT 770 PRO deliver 80 percent of the value at a friendlier price.
Who should buy the Sennheiser HD 600
Mastering engineers, mixing professionals, and serious hobbyists who already own or plan to buy a quality headphone amp. The HD 600 is a long-term investment that rewards accurate listening habits.
Who should skip the Sennheiser HD 600
Editors on a budget will find better value in the HD 599 or DT 770 PRO. Anyone without a headphone amplifier will not hear what this pair can do. Editors in noisy or shared spaces need a closed-back design.
Studio Headphones Buying Guide: What Actually Matters for Audio Editing?
Specs sheets are full of jargon, but only a handful of factors actually change how your edits sound. Here is what to focus on when comparing studio headphones for audio editing.
Frequency Response and Why Neutral Sound Matters
Frequency response tells you the range of bass, mids, and treble the headphones can reproduce. Human hearing covers roughly 20 Hz to 20 kHz, so any pair that covers that range can theoretically reproduce everything you need. What matters more is how flat the response is. A flat or neutral signature does not boost bass or treble, which means what you hear is what is actually in the audio.
Consumer headphones often boost bass for fun. That is great for casual listening but disastrous for editing because you will reduce bass in your mix to compensate, leaving your track thin on other systems. Studio headphones with a neutral signature help you make decisions that translate well to speakers, earbuds, and car stereos.
Impedance and Amplifier Requirements
Impedance, measured in ohms, tells you how much power the headphones need. Lower impedance (16 to 80 ohms) plays loud from phones, laptops, and modest audio interfaces. Higher impedance (250 to 600 ohms) requires a dedicated headphone amplifier or a high-quality audio interface to reach full volume and dynamics.
The 250 ohm DT 990 PRO and 300 ohm HD 600 are excellent examples. They sound detailed and refined with proper amplification but anemic without it. If you do not want to buy a separate amp, stick with models under 80 ohms. The M40x at 35 ohms and the HD 599 at 50 ohms are particularly easy to drive.
Comfort for Long Editing Sessions
Audio editing sessions regularly run three to eight hours. A headphone that feels fine for thirty minutes can become painful by hour three. Weight, clamping force, and ear pad material all matter. Velour pads breathe better than pleather but feel slightly less isolating. Pleather blocks more sound but warms up faster.
Look for adjustable headbands, swiveling cups for single-ear monitoring, and replaceable ear pads. The Beyerdynamic DT 770 PRO and Sennheiser HD 599 both scored high on comfort in my testing thanks to their velour pads and moderate clamping force.
Sound Isolation and Your Editing Environment
Closed-back headphones block outside sound and prevent audio leakage. Open-back headphones deliver a more natural soundstage but leak in both directions. Your choice depends on where you work. In a quiet private room, open-back gives you better imaging for mixing and mastering. In a noisy shared space, closed-back keeps you focused and prevents bleed when recording.
Some hybrid workflows call for both pairs. I keep closed-back headphones at my desk for general editing and voiceover review, and switch to open-back for final mix checks.
Build Quality and Warranty
Studio headphones see daily use. Look for metal headbands, replaceable ear pads, and detachable cables. Non-detachable cables are a common failure point. Audio-Technica, Beyerdynamic, and Sennheiser all build models with replaceable parts. Sony’s MDR-7506 is the outlier here, with a fixed cable that has nonetheless proven durable in practice.
Warranties range from 90 days on the Sony to two years on the Audio-Technica and Beyerdynamic models. Longer warranties signal manufacturer confidence in build quality.
Wired vs Wireless for Audio Editing
All eight headphones in this roundup are wired. That is intentional. Wireless headphones add Bluetooth compression and latency, both of which can affect your perception of audio and your editing precision. For professional work, wired remains the standard.
That said, wireless headphones have improved dramatically. If you need wireless for casual listening or video editing on the go, look for models supporting aptX HD or LDAC codecs. For the actual editing decisions that affect your final mix, wired is still the safer choice.
Budget Tiers and Where to Spend
Entry-level tier: The Sony MDR-7506 and Sennheiser HD 280 Pro are excellent starting points for new editors. You get honest sound and useful features without breaking the bank.
Mid-range tier: This is the sweet spot for most editors. The Audio-Technica ATH-M50x and ATH-M40x sit here, along with the Beyerdynamic DT 770 PRO and DT 990 PRO.
Premium tier: Higher-end options like the Sennheiser HD 599 and HD 600 deliver refinement that justifies the higher price if you have a dedicated amp and quiet room.
Frequently Asked Questions About Studio Headphones for Audio Editing
These are the questions I hear most often from readers and fellow editors. The answers come from my own testing, conversations with audio engineers, and research from audio engineering forums.
What headphones do professional studios use?
Professional studios typically use a mix of closed-back and open-back models depending on the task. For tracking and recording, the Sony MDR-7506, Audio-Technica ATH-M50x, and Sennheiser HD 280 Pro are common sights. For mixing and mastering, engineers reach for open-back references like the Sennheiser HD 600, Beyerdynamic DT 990 PRO, and HD 599. Many engineers keep at least two pairs so they can switch between isolation and accuracy as needed.
What is the 60 60 rule for headphones?
The 60 60 rule is a hearing safety guideline that recommends listening at no more than 60 percent of maximum volume for no more than 60 minutes at a stretch. After an hour, take a five to ten minute break to let your ears recover. This rule applies to all headphone use but matters even more for audio editors, who spend hours monitoring sound at close range. Prolonged exposure above 85 dB can cause permanent hearing damage, and many consumer devices can reach 100 dB or higher at full volume.
Should you edit audio with headphones on?
Yes, headphones are essential for accurate audio editing. Speakers are influenced by your room acoustics, which can mask problems like bass buildup, comb filtering, and reverb tails. Headphones deliver a consistent stereo image directly to your ears, free from room reflections. For critical decisions like EQ adjustments, compression settings, and stereo placement, headphones are more reliable than speakers in untreated rooms. Many professional editors check their work on both headphones and speakers before final delivery.
What headphones are best for recording audio?
For recording, closed-back headphones are the standard because they prevent audio leakage into microphones. The Audio-Technica ATH-M50x is a popular choice for its combination of accuracy, isolation, and price. The Sony MDR-7506 is another industry favorite for recording sessions, especially in post-production suites. For vocalists who need maximum isolation, the Sennheiser HD 280 Pro offers up to 32 dB of attenuation, which keeps live playback from bleeding into the microphone during takes.
Final Thoughts on Choosing Studio Headphones for Audio Editing
Choosing the best studio headphones for audio editing comes down to your workflow, your room, and your budget. If I had to recommend just one pair for most readers, it would be the Audio-Technica ATH-M50x for its balance of accuracy, isolation, and value. The Sony MDR-7506 is the smart pick if you want to spend less and still get honest sound. For editors ready to invest in a long-term reference, the Sennheiser HD 600 is unmatched.
Whatever pair you choose, give yourself a few weeks to adjust. Studio headphones reveal details your ears are not used to hearing, and at first that can feel overwhelming. After ten or twenty hours of listening you will start trusting what you hear and making better edits. Your mixes will translate better to other systems, your podcast audio will be cleaner, and your film dialogue will sit properly in the scene.
That is the real value of a good pair of studio headphones for audio editing. They are not just another tool. They are the lens through which every audio decision passes. Choose well, and every project that follows gets better.