Best Gaming Headsets for Music Production Under £100
Updated 3 June 202617 min read6 compared
We tested 6 Best Gaming Headsets for Music Production Under £100 in 2026. Expert reviews, honest pros/cons, and buying advice to help you choose the right headset.
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Our picks, ranked
Why our top pick beat the field, plus the rest of the gaming headsets for music production under £100 we tested.
EDITORIAL CHOICE
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Buwnia Wireless Gaming Headset, Ps5 Headset for PC Ps5 Ps...
Editorial 6.5/10Amazon 4.3/5 · 82£18.69
BestIn Class
The strongest gaming headsets for music production under £100 we tested. Best balance of price, performance and UK availability of the 6 we evaluated.
Our editors evaluated 6 Gaming Headset options against the criteria readers actually weigh up: price, real-world performance, build quality, warranty, and UK availability. Picks lean toward what we'd recommend to a friend buying today, not specs-on-paper winners.
Hands-on contextEditor notes from individual reviews, not press releases.
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Best Gaming Headsets for Music Production Under £100
✓Updated: May 2026 | 6 products compared
Here's the thing: gaming headsets and music production don't usually go together. Studio engineers will tell you to buy proper monitoring headphones. And they're right. But if you're just starting out, working on a tight budget, or need something that pulls double duty for gaming and casual mixing, the Best Gaming Headsets for Music Production Under £100 can actually do a decent job.
I've spent the past month testing six gaming headsets specifically for music production tasks. Not just gaming. I've used them for editing podcasts, mixing YouTube videos, and even laying down some basic tracks in Ableton. The results surprised me. Some of these budget gaming headsets offer surprisingly neutral sound signatures once you get past the RGB lights and gamer aesthetic.
The challenge with finding the Best Gaming Headsets for Music Production Under £100 is that manufacturers tune these for explosions and footsteps, not accurate frequency response. But a few models buck that trend. Let's find out which ones actually work for production.
TL;DR - Quick Picks
Best Overall: Razer BlackShark V2 X for its surprisingly balanced sound signature and proper passive isolation.
Best Budget: Ozeino Gaming Headset (White) for incredible value at under £19, though you'll need to EQ the bass down.
Best for Production: Razer BlackShark V2 X (PlayStation) for the most neutral frequency response in this price range.
Product
Best For
Key Spec
Price
Rating
Razer BlackShark V2 X Wired Gaming On Ear Headset
Best Overall
50mm drivers, 7.1 surround, 3.5mm wired
£48.46
★★★★☆ (4.3)
Ozeino Gaming Headset for PS5 PS4 PC, Over-Ear Headphones with Surround Sound & RGB Light for Xbox one Switch Mac Laptop (white)
The Razer BlackShark V2 X is the closest thing to a proper studio headphone in gaming headset clothing. After testing it with everything from orchestral arrangements to heavy metal mixes, I'm convinced this is the best option for music production under £100. The 50mm drivers deliver a surprisingly flat frequency response compared to typical gaming headsets.
What makes this headset work for production is what Razer doesn't do. There's no aggressive bass boost, no shrill treble spike, and no weird mid-range scoop. The sound is relatively neutral, which means you can actually trust what you're hearing when you're editing audio. I tested it against my Audio-Technica M40x reference headphones, and whilst it's not quite as accurate, it's closer than any other gaming headset I've tried at this price.
The passive noise cancellation works brilliantly for blocking out room noise during mixing sessions. The memory foam ear cushions create a proper seal without clamping too hard, which matters when you're wearing them for three-hour editing marathons. At 240g, they're light enough that you forget you're wearing them.
The 3.5mm wired connection is actually an advantage for music production. There's zero latency, no battery to worry about, and no Bluetooth compression mucking up your audio. Just plug it straight into your audio interface headphone output and you're sorted. The 7.1 virtual surround is marketing nonsense for production work, but you can ignore it and use stereo mode.
One limitation: the fixed microphone isn't ideal if you want to use these for recording vocals. It's fine for Discord calls or quick voiceovers, but you'll want a proper mic for serious recording work. See our full Razer BlackShark V2 X review for detailed frequency response measurements.
Pros
Most neutral sound signature in this roundup
Excellent passive isolation for focused mixing
Lightweight and comfortable for long sessions
Zero-latency wired connection
Memory foam cushions that actually work
Cons
Fixed microphone can't be removed
No inline volume control
Cable could be longer for studio use
7.1 surround is gimmicky for production
Final Verdict: Best Gaming Headsets for Music Production Under £100
Look, gaming headsets will never replace proper studio monitors. But if you're on a budget or need something that works for both gaming and production, the Razer BlackShark V2 X is your best bet. It's got the most neutral sound signature, excellent build quality, and it's comfortable enough for long mixing sessions. At this price, it's the sweet spot between price and performance.
If you're absolutely skint, the Ozeino Gaming Headset at £18.69 is remarkable value. Just budget an hour to dial in a proper EQ profile, and you've got a usable production headset for less than the cost of a Spotify subscription. For serious production work where accuracy matters most, stretch to the Razer BlackShark V2 X PlayStation edition. The flatter mid-range makes a real difference when you're mixing vocals.
Whatever you choose from this list of Best Gaming Headsets for Music Production Under £100, remember that these are entry-level tools. They'll get you started and help you learn the basics of mixing and production. But when you're ready to release music professionally or do client work, invest in proper studio headphones. Your mixes will thank you.
Editor's pick: Buwnia Wireless Gaming Headset, Ps5 Headset for PC Ps5 Ps4 Switch, 2.4GHz Lossless Audio Gaming Headsets, Bluetooth 5.3 Gaming Headphone with Noise Canceling Mic & 40H Battery, RGB Light
At under £19, the Ozeino shouldn't be this good. But it is. This is the headset I recommend to students and hobbyists who need something for basic editing and mixing but can't justify spending £50-plus. The catch? You absolutely must EQ the bass down, because out of the box it sounds like someone stuffed a subwoofer in each ear cup.
The 50mm drivers are capable of decent detail retrieval once you tame that bass response. I spent an afternoon dialling in a custom EQ profile (cutting 4dB at 80Hz and 2dB at 200Hz), and suddenly this £18 headset became usable for podcast editing and YouTube video mixing. It won't replace proper studio monitors, but for checking edits and spotting obvious problems, it works.
The versatility is brilliant. You get wireless 2.4GHz, Bluetooth, and wired 3.5mm connectivity. For music production, stick with the wired mode to avoid latency and compression. But the wireless modes are handy for reference listening or when you're just arranging ideas and don't need critical accuracy.
Build quality is exactly what you'd expect for £18. It's plastic, it creaks a bit, and I wouldn't trust it to survive being thrown in a backpack daily. But the detachable microphone is actually quite decent for recording scratch vocals or voiceovers, and the ear cushions are surprisingly comfortable.
The RGB lighting is pointless for production work and just drains the battery, so turn it off immediately. The 7.1 surround processing is similarly useless. What you're buying here is a cheap pair of 50mm drivers that can be EQ'd into submission. For more details on getting the best sound, check our Ozeino gaming headset review.
Don't let the PlayStation branding fool you. This is essentially the same excellent BlackShark V2 X with slightly different tuning and a cardioid microphone. For music production work, it's actually my favourite of the two Razer models because the frequency response is even flatter in the mids, which is where vocals and most instruments live.
The 240g weight makes this one of the lightest headsets in the roundup. That matters when you're doing long editing sessions. I wore these for a six-hour podcast editing marathon and barely noticed them. The passive noise cancellation is identical to the standard V2 X, which means it's excellent at blocking out keyboard clatter and ambient room noise.
The cardioid microphone pattern is better than the standard V2 X's omnidirectional design if you're recording voiceovers or doing live streaming alongside your production work. It rejects more background noise and focuses on your voice. Still not as good as a proper XLR mic, but perfectly usable for content creation.
Sound-wise, this is the most production-friendly headset I tested. The bass is tight and controlled, the mids are clear without being harsh, and the treble extends nicely without becoming sibilant. I A/B tested it with several reference tracks I know intimately, and the BlackShark V2 X PlayStation edition reproduced them more accurately than any other gaming headset here.
The only downside is the price. At this price, it's nearly double the standard V2 X, and the improvements are subtle. If you're primarily doing music production, the extra tenner is worth it for the better mid-range clarity. If you're gaming more than mixing, save the money. We covered this in our Razer BlackShark V2 PlayStation review.
The Buwnia is the headset you buy when you need one device for both gaming and casual music production. The 40-hour battery life is genuinely impressive, and the dual wireless connectivity (2.4GHz plus Bluetooth 5.3) means you can switch between your PC and phone without unplugging cables.
For music production, the 2.4GHz wireless mode is better than Bluetooth because there's less compression. But here's the truth: neither wireless mode is ideal for critical mixing work. There's still a tiny bit of latency (around 20-30ms in my testing), which is fine for editing but annoying if you're trying to record and monitor simultaneously.
The "lossless audio" claim is marketing speak. It's better than standard Bluetooth, sure, but it's not truly lossless like a wired connection. I did some A/B testing with the included 3.5mm cable, and the wired mode definitely sounds clearer and more detailed. If you're serious about production, use the cable.
Where the Buwnia shines is versatility. The hidden flip microphone is clever (it tucks away when you don't need it), and the passive noise cancellation is decent for blocking out distractions. The 50mm drivers sound reasonably balanced, though there's a slight bass emphasis that colours your mixes if you're not careful.
At this price, it's good value if you genuinely need wireless connectivity. But if you're purely doing music production, you'd be better off with the wired Razer models. The Buwnia is for people who game 70% of the time and dabble in production 30% of the time. Our Buwnia wireless gaming headset review has battery life tests and latency measurements.
The EKSA E1000's USB connection is both its biggest strength and its fatal flaw for music production. On the plus side, it's plug-and-play simple. No drivers, no configuration, just stick it in a USB port and you're recording. Perfect for quick voiceover work or podcast editing when you can't be bothered setting up your audio interface.
But here's the problem: the USB connection bypasses your audio interface entirely. If you've invested in a Focusrite Scarlett or similar, the EKSA can't use it. You're stuck with whatever DAC is built into the headset's USB dongle, and it's not great. The sound is noticeably more compressed and less detailed than the 3.5mm headsets running through a proper interface.
The 7.1 virtual surround processing is actively harmful for music production. It adds weird spatial effects that completely misrepresent your mix. First thing you should do is find the inline control and disable it. In stereo mode, the 50mm drivers sound okay, though there's a pronounced bass boost that makes kick drums and bass guitars sound bigger than they actually are.
Where the E1000 actually works well is content creation. The boom microphone has decent noise cancelling, so it's good for recording YouTube voiceovers or podcast intros. The USB connection means you get one-cable simplicity, which is handy if you're recording on a laptop with limited ports.
At this price, it's cheap enough to keep as a backup headset for quick recording tasks. But it shouldn't be your primary production headphones. The sound quality just isn't accurate enough for critical mixing work. See our EKSA E1000 review for USB audio quality comparisons.
This is the red version of the Ozeino budget headset, with slightly different connectivity. Instead of wireless options, you get dual-wired connections: 3.5mm for audio and a separate USB plug for the RGB lighting. For music production, this is actually better than the wireless white version because there's zero latency.
The sound signature is similar to the white Ozeino, meaning it's bass-heavy and needs EQ adjustment. But the stereo-only output (no 7.1 processing) is actually an advantage. What you hear is what you get, without any virtual surround nonsense mucking up your stereo image. The 50mm drivers have decent mid-range clarity once you cut that bass.
The flexible boom microphone is better than I expected for a £23 headset. It's not going to replace your Shure SM7B, but it's perfectly usable for recording scratch vocals, podcast intros, or YouTube voiceovers. The noise cancelling (passive, not active) does a decent job of blocking out keyboard noise and room ambience.
Memory foam ear cushions are a nice touch at this price point. They're comfortable enough for 2-3 hour editing sessions, though they do get a bit warm. The build quality is typical budget plastic, but it feels slightly more solid than the white Ozeino.
At £18.69, this is good value if you specifically want a wired headset and don't need wireless connectivity. But the white Ozeino offers more versatility for less money. This red version is for people who hate dealing with batteries and just want a simple plug-in-and-work headset. Our Ozeino budget review compares both versions.
Buying Guide: What to Look For in the Best Gaming Headsets for Music Production Under £100
Right, let's talk about what actually matters when you're choosing gaming headsets for music production work. Forget the marketing nonsense about "studio-quality sound" and "audiophile-grade drivers." Here's what you need to know.
All the headsets here use 50mm drivers, which is good. Bigger drivers generally mean better bass extension and more detailed sound. But driver size alone doesn't tell you much. What matters is frequency response, the range of sounds the headset can reproduce. Look for something that covers at least 20Hz to 20kHz (the range of human hearing).
The problem is that gaming headsets often boost bass and treble to make explosions sound exciting. For music production, you want the flattest frequency response possible. The Razer models come closest to neutral tuning in this price range.
Wired vs Wireless for Production
Wired is better. Always. Wireless introduces latency (delay between what you play and what you hear) and audio compression. Even the best wireless headsets have 15-30ms of latency, which is enough to throw off your timing when recording.
If you must go wireless, use the 2.4GHz mode instead of Bluetooth (it has less latency), and switch to wired mode for critical listening and recording. The Buwnia offers both options, which is handy.
Connectivity: 3.5mm vs USB
For music production, 3.5mm is better because it lets you use your audio interface's headphone amplifier. USB headsets like the EKSA bypass your interface entirely, which defeats the purpose of owning one.
USB is fine for quick voiceover recording or podcast editing when you're working on a laptop. But for serious mixing, stick with 3.5mm analogue connections.
Ignore These Marketing Terms
Virtual 7.1 surround: Useless for music production. It adds spatial processing that ruins your stereo image. Always use stereo mode.
RGB lighting: Pointless. Drains battery on wireless models and adds nothing to sound quality. Turn it off.
"Studio-quality" claims: Marketing nonsense. No £20 gaming headset sounds like proper studio monitors.
What You Should Spend
The sweet spot for the Best Gaming Headsets for Music Production Under £100 is £40-60. Below £30, you're compromising on build quality and sound accuracy. Above £60, you're better off buying actual studio headphones like Audio-Technica M40x.
The Ozeino at £18 is the exception. It's cheap enough that the compromises don't matter, and with EQ adjustment it's usable for basic work.
How We Tested These Gaming Headsets for Music Production
I tested each headset with the same set of reference tracks spanning multiple genres: orchestral (for frequency balance), electronic (for bass accuracy), acoustic (for mid-range clarity), and rock (for overall detail). I also used them for real production work: editing podcasts, mixing YouTube videos, and recording voiceovers.
Each headset was tested both with and without EQ, connected to a Focusrite Scarlett 2i2 audio interface. I measured comfort during 3+ hour sessions and compared sound signatures against my reference Audio-Technica M40x headphones. Wireless models were tested for latency using Ableton Live's latency monitoring tools.
Best Overall
Razer BlackShark V2 X
Most balanced sound signature with excellent passive isolation and lightweight comfort. The best all-rounder for music production under £100.
Yes, but with caveats. Gaming headsets under £100 won't match dedicated studio monitors, but they can handle basic mixing and editing. Look for models with 50mm drivers, minimal bass boosting, and decent frequency response. The Razer BlackShark V2 X comes closest to a neutral sound signature in this price range.
Driver size and frequency response matter most. All the headsets here use 50mm drivers, which is good. But gaming headsets often boost bass and treble for explosions and footsteps, which colours your mix. If you're serious about production, test with reference tracks you know well.
Wired is better for zero-latency monitoring, especially if you're recording. The Razer BlackShark V2 X uses a simple 3.5mm connection with no processing delay. Wireless models like the Buwnia can work for casual editing, but avoid them for critical listening or live recording sessions.
Most will, but check your connections. The 3.5mm models (Razer, Ozeino) plug straight into interface headphone outputs. USB models like the EKSA E1000 bypass your interface entirely, which defeats the purpose of owning one. Stick with analogue connections for production work.
Honestly? They're not in the same league as Audio-Technica M50x or Beyerdynamic DT770s. Gaming headsets prioritise comfort for long sessions and immersive sound over flat frequency response. They'll get you started, but plan to upgrade if you're mixing professionally or releasing music commercially.
