Criteria: Over-Ear + Closed-Back
Price range: 20 € - 50 €
Explanation: I keep my experience report as simple as possible during the shootout. For the most part, headphones in a similar price range and with comparable technical characteristics are compared. The price does not play a role in the evaluation. The rating is also dynamic, depending on the current listening experience. The weighting of sound and handling is 2:1.
PRO 10 PRO 30 PRO 50
Sound 7.1 7.1 7.4
Bass 7.5 7.5 8
Mids 7 7 7
Trebles 7 7 7.5 Imaging 7 7 7.5
Stage 7 7 7
Handling 7 7.5 7.5
Processing 7 7 7
Comfort 7 8 8
Total 7.1 7.2 7.4
Price 24 € 27 € 28 €
Comparison:
Individual reviews below
Does it really need 3 "different" models. Only subtleties (color, riffling) and the ear padding change on the housing. The PRO 10 and PRO 30 do not even differ in sound.
For me all STUDIO PRO over-ears are a bit too bass accentuated, especially the PRO 10 and PRO 30. The PRO 50 also has hum, just a bit tighter and with more mid and high frequencies. All in all it is more lively and musical, but also not more than good average at a very reasonable price.
Handling There are no differences in processing. All of them are robust, especially at the joints, and they certainly stand up to a lot. And they have to, if they should function as DJ tools.
The difference is the upholstery. The padding of the PRO 30 is a clear update to the PRO 10, but for my ears it is still a bit too small to fit in completely. Compared to the PRO 30, I think the PRO 50 is slightly more comfortable, but basically it's the same padding in a different design.
The link feature of the headphones is great and also connecting two devices at the same time can be an added value. Since all of them have the same package contents, the only real difference is in comfort (PRO 10 to PRO 30/50).
Sound
ONEODIO makes its job relatively easy with their wired over-ears. 3 x the same design and 3 x the same driver. Soundwise the PRO 10 and PRO 30 are basically the same. With the PRO 30 you have a slightly improved isolation due to the optimized ear pads, which makes it appear slightly fuller, but basically this is very subtle. Since the PRO 10 only costs a few Euros less, you don't really need it, or the other way around, whoever has the PRO 10 doesn't need a PRO 30, but can get the protein memory pads of the PRO 50 for just under 10 Euros.
Even though I feel a bit more comfortable with the PRO 30, in my opinion the PRO 50 has the most to offer in terms of sound, because the mids and highs come out better and the bass is a bit cleaner/tighter. I guess a different filter was used here, or maybe it was omitted completely. However, the mids can also be a bit shrill and therefore demanding. The PRO 10 and PRO 30 are more pleasant contemporaries. If you are more into bass and like it more relaxed in the mids and highs, but can also do without some details and don't need the full view, you might feel more comfortable with the PRO 10, or PRO 30. If you like it a bit clearer and prefer more vocal presence and crisp guitars, you can certainly do more with the PRO 50. However, the high frequencies can rarely be exaggerated and the mids can be a bit demanding. But the signature is a bit more balanced (even if balanced is probably the wrong word in total) and you have to turn up the volume, otherwise the bass will dominate again.
Conclusion None of them are suitable for professional monitoring. For DJs, in noisy surroundings, or as instrument headphones at home (piano/guitar etc.) to keep the neighbors in their apartments, more likely. Listening to music is also quite possible, but certainly not on an audiophile level. My recommendation: PRO 50 - not wrong for the price and comfort. If you focus more on sound and less on wearing comfort, look around SUPERLUX for the same price.
PRO 10
50 mm driver, sensitivity: 110 dB, resistance: 32 Ohm, frequency response: 20 - 20000 Hz
The PRO 10 is a headphone designed for DJs. It is very bass accentuated and more suitable for beats and electro than for audiophile music enjoyment. Nevertheless, it is not exclusively a bass monster, but can also show its sensitive side in quieter recordings.
Handling
The PRO 10 is made of plastic, but makes a durable impression. The joints can be rotated/moved by 90° and the ear cups by 180°. So the PRO 10 is good for DJ monitoring, but it can be a bit tricky to arrange the auricles.
A nice feature is the operation with two different sources at the same time. I can use the inputs (6.3mm and 3.5mm) in parallel (e.g. playback and guitar), or even use one as output and use another headphone, or even more (headphone chain).
Two cables are included (spiral cable up to 2.8m - 3.5mm to 6.3mm and a 1.2m cable with mic - 3.5mm). There is also a headphone bag, which is very soft and silky.
The Pro 10 comes with soft leatherette ear pads, but they could be a bit bigger and deeper to completely enclose the (big) ear and keep it away from the inner workings. Another point of criticism is the headband, which has a padding and is adjustable, but only sits quite punctually in the middle, does not distribute the weight of the headphones over the entire head and can thus create a somewhat unpleasant pressure in the long run, which is still tolerable. Sound PRO 10 = PRO 30
The bass has a little ADHD. It not only sets the beat, but also defines the musical journey. It is slightly booming and focuses more on quantity than quality. Especially when a lot of bass is used, it gets confusing and spongy. With less bass-hungy tracks, however, it forms a fun foundation and provides a welcome ear massage.
Now one would suspect dead pants in the midrange. It is not that bad. Yes, the mids are reduced and don't have a pronounced rise from 1-2 kHz to provide more clarity, but they resonate musically without developing much attention to detail. Nothing for the couch, but for the loud DJ stage quite sufficient, since they can also give the bass a voice and are differentiated despite the distress.
The trebles skilfully stay out of the battle of the bass, against the mids.. However, they also have no ambitions to stand out in particular. They do what is necessary to keep the PRO 10 alive, but without drawing attention to themselves. Nevertheless, they provide enough information and there is not much to blame them for if the claim is not too high. Solid.
The stage size is average. With an equalizer, which screws the bass down a bit, it can still be opened upwards. So everything sounds a bit musty and pressed, which doesn't please the separation either.
PRO 30
50 mm driver, sensitivity: 110 dB, resistance: 32 Ohm, frequency response: 20 - 20000 Hz
The PRO 30 is virtually a PRO 10 with other earpads, without any tonal changes. Therefore it is not worth a further review and so I repeat myself for the most part. Handling
The PRO 30 is made of plastic, but makes a durable impression. The joints can be rotated/moved by 90° and the ear cups by 180°. So the PRO 30 is good for DJ monitoring, but it can be a bit tricky to arrange the auricles.
A nice feature is the operation with two different sources at the same time. I can use the inputs (6.3mm and 3.5mm) in parallel (e.g. playback and guitar), or even use one as output and use another headphone, or even more (headphone chain).
Two cables are included (spiral cable up to 2.8m - 3.5mm to 6.3mm and a 1.2m cable with mic - 3.5mm). There is also a headphone bag, which is very soft and silky. The Pro 30 comes with protein memory pads and is quite comfortable to wear on the ears, as they are not only very soft, but also breathable, although they should be slightly larger to completely enclose the (large) ear. A point of criticism remains the headband, which has a padding and is adjustable, but only sits quite punctually in the middle, does not distribute the weight of the headphones over the entire head and can thus create a somewhat unpleasant pressure in the long run, which is still tolerable. Sound
PRO 30 = PRO 10
The bass has a little ADHD. It not only sets the beat, but also defines the musical journey. It is slightly booming and focuses more on quantity than quality. Especially when a lot of bass is used, it gets confusing and spongy. With less bass-hungy tracks, however, it forms a fun foundation and provides a welcome ear massage.
Now one would suspect dead pants in the midrange. It is not that bad. Yes, the mids are reduced and don't have a pronounced rise from 1-2 kHz to provide more clarity, but they resonate musically without developing much attention to detail. Nothing for the couch, but for the loud DJ stage quite sufficient, since they can also give the bass a voice and are differentiated despite the distress.
The trebles skilfully stay out of the battle of the bass, against the mids. However, they also have no ambitions to stand out in particular. They do what is necessary to keep the PRO 10 alive, but without drawing attention to themselves. Nevertheless, they provide enough information and there is not much to blame them for if the claim is not too high. Solid.
The stage size is average. With an equalizer, which screws the bass down a bit, it can still be opened upwards. So everything sounds a bit musty and pressed, which doesn't please the separation either. Compared to the PRO 10 you can fantasize that the PRO 30 sounds a bit fuller due to the slightly better isolation.
PRO 50
50 mm driver, sensitivity: 110 dB, resistance: 32 Ohm, frequency response: 20 - 20000 Hz
The PRO 50 is the third in the bunch and its family affiliation cannot be denied. Rather, it is another twin, with a slightly different color scheme, chic earpads and a different packaging. However, it is no longer focused only on the bass, like the PRO 10 and PRO 30.
Handling The PRO 50 is made of plastic, but makes a durable impression. The joints can be rotated/moved by 90° and the ear cups by 180°. So the PRO 50 is good for DJ monitoring, but it can be a bit tricky to arrange the auricles.
A nice feature is the operation with two different sources at the same time. I can use the inputs (6.3mm and 3.5mm) in parallel (e.g. playback and guitar), or even use one as output and use another headphone, or even more (headphone chain).
Two cables are included (spiral cable up to 2.8m - 3.5mm to 6.3mm and a 1.2m cable with mic - 3.5mm). There is also a headphone bag, which is very soft and silky. The Pro 50 comes with protein memory pads and is quite comfortable to wear on the ears, as they are not only very soft, but also breathable, although they should be slightly larger to completely enclose the (large) ear. A point of criticism remains the headband, which has a padding and is adjustable, but only sits quite punctually in the middle, does not distribute the weight of the headphones over the entire head and can thus create a somewhat unpleasant pressure in the long run, which is still tolerable. Sound
With the STUDIO PRO series from ONEODIO you have to like your bass. It is punchy and very physical. But it is a bit too much in the foreground for me. Even though the PRO 50 pays more attention to the mids and highs compared to the PRO 10/30, it's still a bit too intense. Sure, if you like bass you'll get it and that's not bad at all, but quantity comes before quality. But it's fun to play and a cleaner than the PRO 10/30.
The PRO 50 has a clear V-signature. The mids are more present in the upper range, which makes them a bit musty in the lower range, but quite demanding for voices. Not really the hottest combo, but it also has something lively and provides better separation and clarity compared to the PRO 10/30.
The trebles are also raised, but not to the extent of the bass. They are quite lively and quite detailed. Cymbals sound mostly natural and the high frequency provides a more open sound which is quite good for the PRO 50 compared to the PRO 10/30. Sibilants are quite well under control and unpleasant background noise rarely gets around.
The PRO 50 is closed, which speaks rather for a more intimate stage, but the PRO 50 offers a quite wide expansion within its possibilities and above all a good three-dimensional image.
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