It’s quite clear what to expect from the AKG K92 straight off the bat, with the headphones themselves presented alongside a stereo adapter with a mini to large jack selection. And that’s it. This affordable bit of audio kit is designed to sit nicely alongside other essentials in the AKG K-series, borrowing elements from sister models including the K240 Studio MKII, the K550 and the K702. Unlike those headphones, the AKG K92 strikes a good balance between technical proficiency, user-friendliness and a money-saving asking price.

The majority of the components you’ll find here are made of plastic, but the K92 still feels like a valuable and well produced piece of equipment. What metallic accents and components there are add to a feeling of quality and robustness. The lightweight plastic housing brings with it a benefit, however. Weighing in at just 220 grams, agreeable levels of wearing comfort are assured. The ear pads feel pleasantly soft, but they’re not anywhere near as breathable as the product promotional material makes them out to be.

The ear pads themselves are printed with a large “L” and “R” respectively to highlight left-hand and right-hand sides of the device. Medium contact pressure levels allow for fatigue-free listening sessions, while those working at the mixing desk or monitoring in a studio setting can work into the night without the worry of a pressure headache settling in. For smaller or especially large heads, the strap guides on the headband can be adjusted beyond the marked increments with a precision screwdriver for a bespoke fit. The fact AKG hasn’t flagged this feature up in their materials is a shame, as it’s an innovative approach to a common issue for some users. A lengthy cable stretching to three metres also makes these headphones suitable for use on stage on in the studio.

In terms of sound, the K92 doesn’t completely convince me. There’s a strong focus on the midrange that’s well suited to rock and metal genres, but guitars and vocals in a general sense will benefit from it. All in all, the frequency response comes across a little unbalanced. More restrained basses will only become noticeable when an amplifier is switched on, for example. The K92 works best in the low bass range if it is given EDM or urban genres to play with. The treble, on the hand, comes across as largely dull and lifeless. Super-high frequencies are barely noticeable at all, except for the odd silky hiss here and there. As such, you can only hazard a guess at the real nature of those sound sources. Ultimately, it has to be said the K92 is a pleasant sounding, powerful enough model of headphone that delivers a wonderfully wide stereo image and convincing physical design, even if the level of detail and resolution is lacking in the sound stakes.

The midrange of the K92 cuts a fine figure when it comes to rock and metal productions, while a low bass reproduction suiting friends of EDM and urban genres. The frequency response of these headphones weighs more at the centre, making them an ideal option for listening to speech signals. Due to its closed design, not to mention the low price, the K92 is an ideal pick for a second pair of headphones that can be used for recording sessions. Good isolation functionality means they’re suitable for podcast recordings. With its robust construction, impressive insulation, reasonable weight and affordable price tag, the K92 is a monitoring headphone anyone using the rehearsal room or heading out on stage should consider.