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We compare products from their published specs and features; the verdicts below are our independent editorial opinions.
Updated: 2026-09-20 · 7 min read · Independent comparison
• Superlux HD667 — biggest strength: full over-ear, closed-back isolation with a detachable 2 m cable and inline volume control, so you can adjust levels without walking back to the kit or the interface. Biggest trade-off: it's the heavier of the two at 335 g, and its sensitivity/frequency figures are the more "utility" end of the scale.
• Sennheiser HD 25 — biggest strength: a genuinely lightweight 140 g frame with very low distortion (under 0.3% THD) and a wide 16–22,000 Hz response, plus that classic one-ear monitoring trick for DJs and camera operators. Biggest trade-off: it's on-ear rather than over-ear, so the fit and isolation feel different, and the cable is shorter at 1.5 m.
• Pick Superlux HD667 if: you're a drummer, you rehearse or record in a loud room, and you want a foldable over-ear that blocks the kit and travels in a pouch.
• Pick Sennheiser HD 25 if: you're doing critical listening, DJ sets, ENG/field work, or long sessions where weight and accuracy matter more than earcup coverage.
• Bottom line: the HD667 is the isolation-and-convenience pick; the HD 25 is the precision-and-comfort pick.
The HD667 is unapologetically a drummer's tool. Superlux built it around a closed-back, over-ear design with 40 mm dynamic drivers, a 32 ohm impedance, 102 dB sensitivity, and a 20 Hz–20 kHz frequency range. In plain terms, that's an easy-to-drive headphone that doesn't demand a dedicated amp — plug it into an electronic drum module, a phone, a small mixer, or a headphone amp and it'll make sound at a usable level. The 10–20,000 Hz response listed in the marketing copy lines up with the 20 Hz–20 kHz spec in the details, so treat the low end as "full but not subterranean."
What actually separates it for its intended buyer is the isolation story. Closed-back cups plus the ear cushions are the whole point: when you're tracking drums, you want the click and the backing track loud enough to play to, without the acoustic kit bleeding back in and without your own playing leaking out into open mics. Over-ear cups that fully surround the ear generally do a better job of that than on-ear pads, and that's where the HD667 plays to its strength.
The practical extras are where it earns its keep in a rehearsal room. The 2 m detachable cable is long enough to reach across a kit or a desk, and the inline volume control means you can trim the level mid-take without reaching for anything. Gold-plated 3.5 mm plug plus a 3.5 mm-to-6.3 mm adapter covers both consumer gear and pro headphone outs. It folds, and it ships with a velvet pouch — genuinely useful if you're hauling it to a practice space or a gig.
Who should skip it? If you want a featherweight headphone for all-day editing, extended mixing sessions, or travel where every gram counts, the 335 g net weight (without cable) is real weight on your head. And if your priority is the lowest possible distortion for critical mastering work, the HD 25's spec sheet is the more precise instrument on paper.
The HD 25 is the opposite philosophy: build a monitoring headphone that disappears on your head. At roughly 140 g without the cable (the listing's 1.1 lb figure includes packaging and cable), it's less than half the weight of the HD667, and with a 2.5 N contact pressure the supra-aural (on-ear) pads are designed to stay put without clamping hard. That combination is why it's associated with long DJ sets, ENG camera work, and studio monitoring — you can wear it for hours and forget it's there.
On paper, the audio side is the headline. A 16 Hz–22,000 Hz frequency response is wider at both ends than the HD667's 20 Hz–20 kHz, and the listed total harmonic distortion of less than 0.3% is a genuinely low figure. For a buyer, that translates to accurate, detailed reproduction with minimal coloration — the kind of thing you want when you're judging a mix, cueing a track, or checking dialogue on location. The closed-back design still gives meaningful isolation, so it's not a leaky open-back by any means.
The on-ear form factor is also a feature, not a compromise, for certain jobs. Because the cups sit on the ear rather than around it, you can slip one side off and monitor with a single ear while keeping the other ear on the room — a real advantage for DJs beat-matching and for camera operators who need to hear both the feed and their surroundings. Connectivity is a 3.5 mm stereo jack with a 3.5/6.3 mm plug, and the cable is 4.92 ft (1.5 m), which is shorter than the HD667's 2 m.
The trade-offs are honest ones. On-ear pads don't seal the way over-ear cups do, so if your goal is maximum attenuation of a loud drum kit in the room, the HD667's over-ear design is the better physical match. There's also no inline volume control here, so level changes happen at your source. And the shorter cable is great for a belt pack but can feel tight if you're moving around a large studio floor. This bundle also includes a desktop stand, which suits a fixed setup more than a gig bag.
• Best for drummers and loud-room isolation → Superlux HD667. Over-ear closed-back cups plus cushions are built to block external noise while you play.
• Best for low-distortion critical listening → Sennheiser HD 25. Under 0.3% THD and a 16–22,000 Hz range make it the more precise monitor on paper.
• Best for all-day comfort and light weight → Sennheiser HD 25. Around 140 g without cable versus 335 g for the HD667.
• Best for one-ear monitoring → Sennheiser HD 25. The on-ear supra-aural design makes single-ear listening practical for DJs and field work.
• Best for on-the-fly level changes → Superlux HD667. The 2 m detachable cable has an inline volume control; the HD 25 doesn't.
• Best for cable reach → Superlux HD667. 2 m versus 1.5 m on the HD 25.
• Best for travel and storage → Superlux HD667. It folds and comes with a velvet pouch; the HD 25 bundle adds a desktop stand instead.
• Best for plugging into anything → Both. The HD667 covers 3.5 mm and 6.3 mm with its adapter, and the HD 25 ships with a 3.5/6.3 mm plug.
If I were buying for myself and my main job was drumming, rehearsing, or tracking in a loud room, I'd take the Superlux HD667. The over-ear closed-back isolation, the 2 m cable with inline volume, and the foldable, pouch-ready design are exactly what that workflow needs, and the 32 ohm/102 dB spec means it runs off almost anything. If instead I wanted one headphone for accurate monitoring, long sessions, and the ability to listen on one ear — DJ work, field recording, studio checking — I'd pick the Sennheiser HD 25 every time; it's lighter and its distortion and frequency specs are the stronger numbers. In my opinion, isolation and convenience go to Superlux; precision and wearability go to Sennheiser. Check the current price on Amazon before you decide, since that's the one thing that can tip an otherwise close call.
FAQ
For drumming specifically, the HD667's over-ear closed-back design is the better physical fit — it's built to surround the ear and block kit noise, and it includes an inline volume control and a longer 2 m cable. The HD 25 is the more accurate monitor on paper, but it's on-ear, which changes how it seals.
The Sennheiser HD 25 is much lighter at about 140 g without the cable, while the Superlux HD667 is 335 g without the cable. If weight and long-session comfort are your priority, the HD 25 wins clearly.
The HD 25 lists total harmonic distortion of less than 0.3%, which is a very low figure, and its frequency response spans 16–22,000 Hz versus the HD667's 20 Hz–20 kHz. If clean, accurate reproduction is what you're after, the HD 25 has the better specs.
Yes. The Superlux HD667 includes a 3.5 mm-to-6.3 mm adapter and a gold-plated stereo mini plug, and the Sennheiser HD 25 has a 3.5/6.3 mm stereo jack plug. Both will connect to standard pro headphone outputs without extra adapters.
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