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We compare products from their published specs and features; the verdicts below are our independent editorial opinions.
Updated: 2026-09-23 · 7 min read · Independent comparison
• Behringer P2 — biggest strength: a locking XLR/TRS combo input that accepts balanced line signals straight from your mixer, plus a Mono/Stereo switch so it works with either an aux send or a stereo headphone feed.
• Behringer P2 — biggest trade-off: it's built from lightweight ABS-type plastic, and the level control is a detented button-style dial rather than a smooth turn knob.
• PROAR P2 — biggest strength: a metal enclosure and a straightforward volume knob, with a stated 10-hour runtime on dual AAA batteries so you can swap cells instantly instead of waiting on a charge.
• PROAR P2 — biggest trade-off: the batteries are not included, and the RGB breathing light is a cosmetic extra that won't matter to anyone chasing a purely neutral stage rig.
• Who each pick is for: Behringer P2 suits players who plug directly into a mixer's XLR output and want a locked-in connection; PROAR P2 suits drummers, guitarists and rehearsal-room players who want a rugged metal bodypack with a simple knob and swappable batteries.
The Behringer P2 is a personal in-ear monitor amplifier, and its whole design story is about getting a clean, controllable feed from the desk to your ears. The top-mounted 3.5 mm (1/8") stereo output jack means you can run your own headphones, earbuds, or custom-molded in-ear monitors — nothing proprietary, nothing to adapt. That single detail makes it a flexible box to own, because your monitor choice stays yours.
The part that stands out to me is the bottom-mounted XLR / TRS combo input. It accepts balanced line signals taken directly from your mixer, and it has a locking mechanism so a cable can't pop out mid-set — you press the tab next to the connector to release it when you're done. If you've ever had a monitor feed cut out during a chorus, you understand why that matters. There's also an internal Mono/Stereo switch: flip it to Mono when you're running off a mixer's aux send or another mono source, or to Stereo when you're feeding it from a headphone output or other stereo source, using an XLR-to-TRS or TRS-to-TRS male-to-male cable.
On top of that sits a high-quality level control with an on/off switch. Behringer describes it as detented — it stays where you put it, which is exactly what you want when your mix level is dialed in and you don't want it drifting after you bump the pack. A built-in belt clip keeps the unit on your waistband or belt when you move around to change amp or stomp settings. It runs on a single 12V battery (an alkaline AAA-style cell per the spec sheet) and is corded-electric powered otherwise, weighs about 4.96 ounces, and measures roughly 5.3" long by 1.5" wide.
Buy it if you take your monitor feed from a mixer, want a locking connector, and like the idea of a level control that won't wander. Skip it if you specifically want a metal housing, a traditional turn-knob volume control, or the convenience of dual-AAA swaps — the P2's plastic body and button-style detented control are deliberate choices, not flaws, but they're not for everyone.
The PROAR P2 is the same category of tool — a portable personal in-ear monitor amplifier with an XLR/TRS input, a Mono/Stereo switch, a 3.5 mm output and a belt clip — but it's dressed differently. The headline difference in the specs is the enclosure: PROAR uses a metal body, and markets it as a bodypack that endures aggressive movement during live shows. If you're a drummer who thrashes, or a guitarist who's hard on gear, that metal shell is a real argument in its favor.
The control layout is friendlier to quick adjustments. Instead of a detented button-style dial, the PROAR P2 has a built-in volume knob for fast level changes, plus a 7-color RGB breathing light that cycles colors randomly. That light is pure decoration — it won't improve your mix — but on a dark stage it adds a bit of personality, and some players genuinely like that. The brand also emphasizes clear analog sound with low distortion and low-latency performance, which is the right priority for hearing vocals, instruments and backing tracks accurately in rehearsals, live shows and studio sessions.
Power is the other practical difference. The PROAR P2 runs about 10 hours on dual AAA batteries, and PROAR frames this as bypassing internal lithium battery decay — meaning you swap cells instead of waiting on a charge. The trade-off is that the batteries are not included, so factor that into your first gig. It's battery powered, ships as one unit with a user manual, carries a 1-year warranty, and lists compatible devices as drum, guitar and keyboard.
Buy it if you want a metal-bodied pack, a knob you can grab and turn mid-song, and the simplicity of disposable AAA power. Skip it if you'd rather have a locking input you can trust against accidental disconnects, or you don't want to think about buying batteries separately.
• Best for a locking, gig-proof input connection → Behringer P2. Its XLR/TRS combo connector locks and releases with a tab press.
• Best for a rugged metal body → PROAR P2. Metal enclosure versus the P2's lightweight ABS-type plastic.
• Best for quick level changes by feel → PROAR P2. A volume knob beats hunting for a detented button in the dark.
• Best for a level that never drifts → Behringer P2. The detented control stays exactly where you set it.
• Best for battery simplicity → PROAR P2. Roughly 10 hours on dual AAA cells with instant swaps — just remember they're not included.
• Best for feeding from a mixer's balanced line out → Behringer P2. It's explicitly designed to take balanced line signals from your mixer and control them onboard.
• Best for stereo sources and headphone outputs → either, via the Mono/Stereo switch. Both offer the switch; the P2 spells out the XLR-to-TRS or TRS-to-TRS cabling you'd use.
• Best for stage presence → PROAR P2. The 7-color RGB breathing light is a small thing, but it's the only one of the two that has it.
If I were buying for myself and my monitor feed came off a mixer, I'd take the Behringer P2. In my opinion, the locking XLR/TRS input and the detented level control are the two features that actually protect a performance, and the Mono/Stereo switch makes it adapt to whatever source I'm handed. I'd only switch to the PROAR P2 if I knew I was going to abuse the pack — the metal body, the grab-and-turn knob and the dual-AAA runtime are genuinely better for that life. Check the current price on Amazon for whichever one fits your rig, then decide on the connector and the housing, not the marketing.
what is studio monitor headphones
Studio monitor headphones are headphones designed to reproduce audio as neutrally as possible so you can judge a mix, a vocal or an instrument accurately rather than for boosted bass or hype. In this comparison, both the Behringer P2 and PROAR P2 are personal in-ear monitor amplifiers, not headphones — they drive whatever in-ear monitors or earbuds you already own from a 3.5 mm output.
what are the best studio monitor headphones
That depends on your ears, your budget and whether you need isolation or openness — there's no single answer, and neither product here is a headphone. What the Behringer P2 and PROAR P2 give you is the amplification stage: the P2's locking XLR/TRS input and detented control, or the PROAR P2's metal body and 10-hour dual-AAA runtime.
do i need studio monitors if i have headphones
Not necessarily. Headphones and in-ear monitors let you work at low volume and hear detail without a treated room, which is exactly the scenario a personal monitor amp like the Behringer P2 or PROAR P2 is built for — feeding your ears a controllable mix on stage, in rehearsal or in the studio.
what are studio monitor headphones
They're headphones built for accurate, flat-ish monitoring rather than casual listening. If accuracy is your goal, the amplification feeding them matters too: the Behringer P2 accepts balanced line signals from a mixer, while the PROAR P2 emphasizes clear analog sound with low distortion and low latency.
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