Sennheiser HD25 Plus: Updating a Classic

If you’re a headphone fanboy, the odds are good that you’ll have heard of the Sennheiser HD25 cans. Since their launch 20+ years ago, they’ve built a cult-like following in production and DJ circles. In the hi-fi industry, standing still is paramount to going backwards, and not being a brand that likes to be left behind, Sennheiser has updated its legendary HD25 to the HD 25 Plus.

As you’d expect, the HD25 Plus is solidly built. With their raison d’être being DJing and studio monitoring/mixing work, they’re built for professional use and are far more durable than most consumer-grade cans. A case in point is the sheer number of people who’ve owned a pair of the original HD25 cans for over 20 years, which, given the limited life expectancy of most ear gear, is a huge amount of time.

Key design tweaks have been added to extend their durability even further. The headband feels built to withstand nuclear war, so throwing it naked in a kit bag without a protective carry case should present no problems.

A matt finish on the ear cups helps with their rugged credentials, hiding dings and scratches. The ear cups are not only durable but also sound-deadening. The padding on the headband and earcups is faux leather, and being Sennheiser ‘phones, the padding is easily replaceable, adding longevity to these ear gear survivors.

Their overall look is understated and functional. That’s not to say they’re ugly, but they’re not blinged out with pointless (and breakable) nonsense like so many consumer-oriented cans. Sennheiser has stuck with the form-over-function principle that has served them so well for so long with the original HD25, and it works.

The only negative aspect of the design of the HD-25 is its comfort level. A strong clamping force meant that I found when extended listening beyond the 3-hour mark, I needed to take a small break. The clamping isn’t so strong that you feel like you’ve put your noggin in a vice, but you know they’re there. However, the padding and clamp force combo provides decent levels of audio isolation.

While they won’t screen out the same level of noise that a pair of active noise-cancelling capable headphones will, they performed sufficiently in noisy environments that I could wander past the numerous construction sites dotted around Wellington’s CBD and still enjoy a podcast without cranking up the volume to hearing-damaging levels.

On the audio front, the sound delivered by the HD25 Plus felt accurate, uncoloured and balanced. Electronica, from Pitch Black’s Ape To Angel, took full advantage of this. At the same time, a recording of ‘Become River’ by John Luther Adams was incredibly soothing, and its subtle, lush, and gentle start felt as nuanced as when I heard it performed by the NZSO.

I particularly liked the neutral sonics of the HD25 Plus. Everything felt balanced with no added colouring, which meant everything was as the sound engineer intended. While many consumer-grade headphones are built to deliver additional bass and crispy highs, the audio of the HD25 may initially seem flat, but perseverance is rewarded. As I got used to their output, I came to appreciate the detail they lifted from recordings, particularly with classical, dub and electronica.

Aside from its legendary reputation, one of the biggest selling points of the HD25 is the wide availability of replacement parts. Being able to repair these headphones should the unthinkable happen means that they should (in theory) last a lifetime.

If you’re after a pair of super durable (and repairable) wired monitor headphones that sound great, Sennheiser’s HD25 Plus cans are definitely worth checking out.

https://www.sennheiser.com/en-us/catalog/products/headphones/hd-25/hd-25-506909