If you’re looking for a bass-first party speaker, the UBoom X is a solid choice. It applies serious bass thump by default, which results in overpowering low-end even at moderate volume levels. It’s completely out of proportion and not ideal unless you’re an absolute bass fanatic (and don’t have neighbors).
While the default EQ may be what most people use, the Studio EQ setting in the speaker’s customized Oluv Signature presets is a better choice for general listening. It strikes a more refined balance of bass, mids, and treble without sucking the life out of the speaker. I used this preset for my evaluation of the speaker’s audio quality because it has the most natural presentation. And though the UBoom X plays stereo audio, it’s difficult to perceive without holding your head next to the speaker.
The UBoom’s actual bass depth is limited. On Kendrick Lamar’s “Loyalty,” the deep sub-bass line recurring throughout challenges the range of many speaker systems, including the UBoom X. The speaker hits some of the higher notes in this passage, but fails to adequately reproduce most of them.
(Credit: Mark Knapp)
The Knife’s “Silent Shout” plays well into the speaker’s capabilities. It is punchy, delivering the bass triplets and sub-bass quarter notes with impact while not overwhelming the rest of the track. This leaves room for the synth lines to ride on top of everything. The vocals come through loud and clear, with harmonies easily intelligible, thanks to the UBoom’s multi-driver design.
Kendrick Lamar’s “Loyalty” sounds good. The sub-bass part blends well with the track’s mid and treble frequencies. Kendrick and Rihanna’s vocals are front and center, while the speaker delivers the looping Bruno Mars sample crisply and various cymbal hits clearly.
The fullness proves a great match for Bill Callahan’s baritone vocals in “Drover.” His voice sounds a bit boosted, but not in an outlandish way. The speaker does a good job of bringing out the bass line, which can often fall into the background. The close positioning of the speakers means the electric guitar and fiddle aren’t effectively separated from left to right, though they still come through cleanly.
The UBoom X isn’t quite capable of a clean and compelling rendition of John Adams’ The Gospel According to the Other Mary, which has extreme dynamics and range with a full orchestra. The subtle stereo panning of this track is also lost in the mix.
Perhaps fittingly, the speaker really only comes into its own when the volume is pushed up a bit. At under 40% volume, it lacks character and feels rather flat. It hits its stride at about 50%, which is plenty loud. From there, the volume ramps up considerably and can easily fill a small backyard.
The microphone does a good job picking up my voice in a test recording, though I sound somewhat distant with a bit of room echo present.
