Audeze MM-520 review: Professional planar magnetic headphones for serious music lovers
The Audeze MM-520 offers a premium, professional-grade listening experience for both studio engineers and serious music enthusiasts. Picture: Noel Campion
I spend a lot of my time testing headphones. My desk usually has a mix of inexpensive models and the latest flagships from brands like Sennheiser, Sony, Bose, Apple, Nothing and many others. These days, most wireless headphones offer incredible noise cancellation and battery life, but they have one fatal flaw: they eventually die.
I have always viewed music as an activity rather than something to play passively in the background, although I do that too. When I buy a new album, I want to sit down, settle in, and really listen. For that, I almost always reach for a wired pair.
I’ve made no secret of the fact that I’m a huge fan of Audeze and their planar magnetic drivers. For the last few months, I have been comparing the MM-520 to my old faithful, the Audeze LCD-X 2021 edition. While the LCD-X is a legendary headphone, it can be a lot to handle. The MM-520 is a collaboration with 18-time Grammy-winning producer Manny Marroquin, designed for professional studio work while still being really enjoyable for people like me who just love music.
At 612g, the LCD-X headphones are heavy. If I’m fresh and full of energy, I don’t notice the weight, but if I’m tired, I often feel a distinct strain in my neck after a few hours. Even though the 106mm drivers provide a massive sound, the physical weight is hard to ignore.
The MM-520 maintains the iconic Audeze look but with a modern styling. It’s a little lighter, weighing 555g, and that 57g difference might not sound like much on a spec sheet, but once you put them on, the relief is noticeable.
The premium materials and planar magnetic drivers mean the MM-520s aren't light, but the leather suspension band does an amazing job spreading the weight evenly.
The cups are also much sleeker and less bulky than the LCD-X, so they feel snugger, in a good way. That said, I’ve always loved the large pads on the LCD-X, but I appreciate the MM-520's balance and lighter feel.
The MM-520s are built to last for decades. There are no batteries to replace; the cables snap into sockets on either side and are replaceable, but my favourite feature is the adjustable headband's industrial design. Each side has a steel rod that sticks up like an antenna, with grooves that click as you adjust the headband. I love the tactile, visual and audible indication of how my clicks the perfect fit is.
The stick-on wedge pads on the LCD-X are harder to replace than the new MM-520, which uses magnetic memory foam pads. They snap into place without fuss, and the magnetic attachment makes cleaning and maintenance incredibly easy.
The steel headband has the perfect clamping force for my average-sized head, but despite being careful, I noticed the black paint chipping and revealing the metal beneath. This is a little disappointing for such expensive headphones. I received an early review sample, so the paint may be anodised rather than sprayed on the final production units.
The MM-520 comes in the same sturdy black hard case as my LCD-X. They include a 2.5m detachable cable with enough slack for most desk setups. You also get a 6.3mm-to-3.5 mm adapter, ideal for switching between studio gear and mobile devices. The hard case offers solid protection for longer trips, while the included MM-Series soft carry bag is lighter and more convenient for quick trips or packing in a backpack.
The LCD-X has a looser clamp and a roomier cavity, which gives a sense of space but can feel a bit insecure if you move your head too much. The MM-520 takes a different approach by hugging the sides of your head more firmly. It’s a lateral-heavy fit that feels very stable. This makes them feel secure when you are moving around, though I suspect people who prefer a lighter, airier feel might miss the LCD-X's extra breathing room.
The MM-520 are open-back headphones that let air move freely through the ear cups, so they offer no passive noise isolation, and those around you will hear what you’re listening to. They use the Audeze Fluxor magnet array and Fazor phase management, but the big upgrade is the SLAM technology. This uses acoustic channels around the driver to manage pressure inside the cup, letting the driver move more freely and uniformly. Essentially, this improves bass response, especially in the sub-bass regions.
The MM-520 features 90mm planar magnetic drivers with a frequency response stretching from 5Hz to 50kHz. With an impedance of 18 ohms and a sensitivity of 102dB, they are relatively easy to drive, though they certainly benefit from a decent amplifier to get the most out of them. I did most of my listening using my Chord Mojo 2, but they also work fine on my MacBook Pro M5 and directly into my HiBy R4 DAP.
Audeze said they wanted to take Manny Marroquin's expertise and create something that serves two masters. "I need a reference I can actually trust the second I step out of Larrabee. The MM-520 is that anchor for me. It’s the truth in my bag, wherever I'm working,” says Manny.
Audeze say the MM-520 is tuned for translation. This means that if you make a mix on these, it should sound good on other speakers. While I am not a professional sound engineer, I can tell that the mids are very well-positioned. They stay consistent and clear, which is exactly what you want when you are trying to hear a song's balance.
I approached these from the perspective of a music lover rather than an audiophile. A few years ago, I stopped paying for music subscriptions after converting my CD collection to FLAC files and hosting my own streaming service. Now I spend my money on music I actually own, whether that is buying new and second-hand CDs or picking up digital tracks from platforms like Bandcamp and HDTracks. The money I used to send to Apple or Spotify now goes directly toward building a permanent library.
In the MM-520s, I found a sound that is beefy and detailed without being exhausting.
Thanks to that SLAM technology, the low end feels physical. It is not just a hum in the background; it has texture and control. Even with a relatively neutral amplifier, the bass felt powerful and extended without getting messy.
The midrange, where vocals and guitars live, is very present and smooth. Unlike the LCD-X, which has a very energetic and sometimes bright top end, the MM-520 is more rounded. The highs are well-defined but not sharp or piercing. If you find high-frequency sounds irritating, you will likely find these very comfortable for long listening sessions. Even on complex tracks with a lot of noise and many instruments at once, the MM-520 stays precise. You do not have to crank the volume to hear the tiny details in the background.
The Audeze MM-520 sits in a sweet spot. It’s a professional tool that doesn't feel like clinical, punishing lab equipment. It stays detailed and accurate while remaining musical and comfortable.
If you are a producer or a mixing engineer who needs a reliable, portable reference that will not cause neck strain, these are a fantastic choice. They're also perfect for the dedicated music enthusiast. If you are tired of wireless limitations and want to hear your favourite albums with more depth, better bass, and smoother sound, these are well worth the investment.
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