For $49.99, the Skullcandy Uproar Wireless headphones are a simple pair of Bluetooth on-ears with serious bass response. If you are looking for flat response or luxurious design flourishes, you need to look elsewhere–sometimes spending more money. But if you are after a set of these with reasonably crisp highs and bass-forward sound, the Uproar Wireless sounds good at this price point.
3. Issue with Volume knob
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Obtainable in four color combinations (black, orange/navy, red/gray, or white/gray), the supra-aural (on-ear) Uproar Wireless have a straightforward matte plastic look that’s fashionable as well as not luxurious. The cushioned earpads are sufficiently padded and feel safe, although the headband may appear snug on the skull. The set includes a secure and lightweight fit, but does not mean they’ll fall off because they’re too big.
Skullcandy keeps the control simple: plus and minus buttons control volume level and track navigation, depending on how long you keep the button down. A multifunctional button controls playback, call management, and power/pairing. It may be too easy to accidentally power down the music player by playing songs for too long, but knowing this will make it less likely to do so. The quantity controls are set to work just like a mobile device’s volume settings.
The pairing process is easy and automatic, so you can get connected as soon as your device enters the wireless range. You’ll know when it’s time to recharge because the headphones will automatically disconnect and alert you with an audible warning.
The Uproar Wireless has no extra accessories. This is one of the least accessory-filled headphone pairs we’ve tested in a while, but you could argue that’s necessary to keep its price competitive with other models we’ve seen for similar pricing.
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Performance and Conclusions
These headphones perform fairly well over a wide range of bass sounds and at high volumes, making them an excellent choice for those who want to use the latest technologies at a cost-effective price. The bass-boosted sound will be more enticing to those seeking a less accurate, flat response and annoyed with high-mid and high frequency as there is not too overwhelming of lows.
With the exception of very few, Bill Callahan’s Drover track has a lot of bass in the mix. It provides a little extra push to this track but only if you’re up close.
The thick and rich sound seems more appropriate for this particular album when juxtaposed with – or as part of – all the other heavy sounds on it The high-mid frequency provides a good treble edge for your vocals, and the guitar in this track sound bright.
On Jay-Z and Kanye West’s No Church in the Open, the kick drum loop gets a bit more low and low-mid sustain than it does high-mid boosting; this means its usually sharp attack takes a backseat to the thump of the sustain. The sub-bass synth hits that punctuate this beat sound stronger than you’d expect from a smaller pair of headphones, but there’s still enough space in the back for vocals to broadcast.
The classical tracks, such as the opening scene from John Adams’ The Gospel According to the Other Mary, have strong lows which might make purists cringe. Orchestral music could become more interesting with these extra bumps and rhythms. The mix of jazz and hip hop on this track is interesting, with the brass playing in the high notes and vocals mixed throughout.
The Skullcandy Uproar Wireless headphones are not perfect-not everyone will like the plastic look, the control pad, or the mega-bass method of music. But plenty will find an elegant headphone pair with a streamlined control pad and a good amount of distortion-free bass response. On a budget:
– Creative Sound Blaster Jam’s stylish design and comfortable fit make it an attractive option in this price range. It also offers good audio performance, though the build quality can’t compare to higher priced items.
– Outdoor Technology’s DJ Slims headphones are much more portable than most of the others on this list, but they look