Note: for the full suite of measurements from the SoundStage! Audio-Electronics Lab, click this link.
Eversolo is a relatively new name in hi-fi, though it may be familiar to followers of this site thanks to Roger Kanno’s recent review of the DMP‑A8 streaming preamplifier. During its short time on the market, the company has quickly garnered acclaim for products that are well built, feature customizable interfaces, and offer exceptional value.
Distinctive for incorporating custom-tailored Android-based software, Eversolo devices provide control over streaming services, local media navigation, and system configurations. The product lineup revolves around high-resolution audio-playback devices, including network streamers, preamplifiers, digital-to-analog converters (DACs), and integrated amplifiers. The lineup offers various balances of price, power, and feature sophistication to appeal to diverse demographics.
Released earlier this year, the Play is Eversolo’s first all-in-one streaming amplifier, combining a quality DAC, stereo class-D amplifier, and network functionality in a compact, elegant unit. In addition to the standard version (US$699, CA$1099, £599, €699), there is a “CD Edition” of the Play (US$799, CA$1199, £699, €790) featuring a CD transport that Eversolo’s engineers somehow managed to squeeze into the chassis. Rather unexpectedly, the disc tray pops out of the left side of the unit. Not only does the CD Edition allow playback of CDs, it can rip CDs to WAV or FLAC files and store these on the Play’s built-in 4GB SSD, an attached USB drive, or a network drive. I am unable to comment further on this feature, as I received the standard version for my evaluation, without CD functionality. But it’s worth noting that you can add CD playback and ripping functionality to the standard version of the Play by connecting an optical drive to the upper USB port.
Rated at 60Wpc into 8 ohms or 110Wpc into 4 ohms, the Play can directly drive typical speakers having impedances of 4 ohms or higher without issue. As a fully connected device, it supports advanced streaming features and includes support for local NAS playback via UPnP and WebDAV. The Play features a respectable AKM DAC that feeds its internal amplifiers, and also provides direct digital outputs if you want to use it as a source component. It therefore fits into Eversolo’s lineup as a versatile “do-it-all” solution, ideal for those looking to simplify their hi-fi without sacrificing sound quality or functionality.
Design and build
Measuring 3.25″H × 9″W × 9.5″D, the Eversolo Play features a sleek, modern design with a clean front panel dominated by a bright 5.5″ HD touchscreen on the left and an illuminated multifunction knob on the right. The aluminum housing features a glass fascia, contributing to its premium feel and hefty 5.7-pound weight.
The Eversolo’s touchscreen allows comprehensive control of the device, providing direct access to playback controls, source selection, and EQ customization—which is just as well, since no remote is included. How often you’ll actually get up to use the touchscreen rather than simply reaching for the control app is another matter. Input and output ports are all located on the rear, facilitating a clutter-free front face, but I feel that the omission of a headphone output is an oversight.
On the back, you’ll find a 3.5mm trigger input, an HDMI ARC port, optical (TosLink) and coaxial (RCA) S/PDIF inputs, a stereo pair of analog line-level inputs on RCAs, and a stereo pair of RCA phono inputs that supports MM and MC cartridges, with a ground connection. Then there’s a mono subwoofer output on an RCA and a coaxial S/PDIF output (RCA). On the right side of the rear panel are four well-spaced binding posts for connecting a single pair of loudspeakers.
Physical connectivity is rounded out with a Gigabit Ethernet port, and there are two stacked USB 3.0 (type A) ports featuring an OTG high-speed interface. The top one is for mass-storage devices like thumb drives, or for a USB measurement microphone, and the lower one is an audio output that can feed an external DAC. Any one of the digital outputs could potentially be used to send audio to a DAC with a headphone amplifier—as mentioned, there’s no onboard headphone amp.
Along with Wi-Fi 6E wireless connectivity, the Play features Bluetooth 5.3 with dual receiver/transmitter functionality. Codec support is limited to SBC and AAC—there’s no support for high-definition codecs like aptX HD and LDAC.
A wide range of high-resolution audio formats is supported, including PCM up to 32-bit/768kHz and DSD up to DSD512, enabling high-resolution playback of any studio-quality audio files you might have. The device natively handles lossless formats such as FLAC, APE, WAV, and DSF and DFF for DSD. It incorporates a premium 32-bit DAC AK4493SEQ chip with AKM’s Velvetsound technology, delivering high signal-to-noise ratio and jitter minimization during digital-to-analog conversion. The Play is Roon Ready and supports AirPlay, Spotify Connect, Tidal Connect, Qobuz Connect, and UPnP/DLNA. The Eversolo Control app has integrated support for several streaming services, including Tidal, Qobuz, Amazon Music, Deezer, and Idagio, and web-radio aggregators such as TuneIn.
The device uses Eversolo’s proprietary EOS audio engine to bypass the standard Android SRC (sample-rate conversion) limitations, so that digital audio is decoded natively. Comprehensive EQ options are available, with 24 presets, a 10-band graphic EQ, and a 10-band parametric EQ, allowing fine-tuning of sound to your taste. There is also an automatic acoustic room-correction system. The dedicated subwoofer output features full bass management with configurable crossover frequency, level adjustment, and phase alignment.
In use
Removing the Play from its entirely black packaging suggests a practical, minimalist approach in that, besides the unit itself, an IEC power cord, and a printed (silver ink on black paper, because why not?) quick-start guide, there’s nothing to unpack. There’s no remote control, no additional cabling, and no “candy” in the box.
For me, the setup experience felt somewhat clunky. I found myself sitting on the floor in front of the unit poking at the touchscreen as I entered my Wi-Fi credentials, pecking at the onscreen keyboard. I would have much preferred doing this via my smartphone from the sofa.
Next, the device puts a pair of QR codes up on its display: one for you to download the app, and the other to pair your smartphone with the unit. SoundStage! founder Doug Schneider had already given me a heads-up that these hadn’t worked when he tried them. Neither of them worked on my iPhone 15 either. I eventually pulled out my old iPhone SE 2 and found that the QR codes worked as intended with the older phone. Very strange.
The Eversolo Control app provides an interface for playback controls, playlist management, EQ adjustments, and multiroom control. Like setup, day-to-day use was quirky. I found simple operations like locating and using the volume control fiddly and unintuitive.
If I put the unit into standby, I wasn’t able to revive it using the app; I had to interact with the unit’s hardware controls to wake it up. As it turns out, the Play has a network-wakeup feature that will automatically power the unit on when you stream to it. But this feature is disabled by default and is not mentioned in the user manual. Another weirdness: I wasn’t able to stream to the Play using AirPlay from my laptop or iPhone, even though it was powered on and showed up in the list of available devices.
I also ran into some odd behaviors with the UI. For example, under Knob Settings in the menu, you can select a color scheme under Light Color (I liked Autumn Leaves). When I scrolled through the color options using the device’s display menu, the audio stream was disrupted with a glitch each time I chose a different color, which I found disconcerting—this really shouldn’t affect the audio stream. If I did the same thing using the smartphone app, the audio playback was not disrupted. I find it unsettling that the unit’s primary function of audio streaming can be disrupted by minor UI changes.
Most importantly, I noticed a few audible “ticks” between songs when playing back content, which may have been related to changes in sample rate. There was also some lagginess to the UI when playing tracks or making volume adjustments using Spotify Connect and Qobuz Connect, and some unpredictable behavior where a track would appear to be playing but no sound was being outputted.
Room correction
Using the Room Correction feature on the Eversolo Play is similar to that on the Eversolo DMP‑A8 and DMP‑A10. The system allows you to run the room-correction process either with your smartphone’s microphone or with a USB measurement microphone; the latter method is recommended for best results. I used my miniDSP UMIK‑1 mike plugged into the upper USB socket on the rear of the unit.
The process is easy to follow. First, you launch Room Correction either on the Eversolo Play device or via the Eversolo Control app. Then you place the microphone at your primary listening position, at ear height, pointing between the speakers. Next, start the volume test in the correction wizard, prompting the system to play a test signal, and ensure the playback level falls between -60dB and -20dB by adjusting the volume as needed. For the acoustic measurement, you can choose to measure the left and right channels separately or combined. You then select Start Measuring. The device will play a frequency sweep.
After a few seconds the software analyzes the measured curve and displays the captured response curve. If you’re unsatisfied with the measurement, you can reposition the mike or adjust settings, and then re-measure.
The device automatically analyzes the curve and generates FIR correction filters in DSP. You then review the target and corrected curves and apply the correction to your current DSP configuration. After correction is applied, the Eversolo Play compensates for acoustic anomalies in your listening room, which should result in more accurate sound reproduction; it’s curious, though, that I didn’t see an option to make measurements in more than one position in the room.
Listening impressions
With the Eversolo Play’s amplifier output connected to my standmounted KEF R3 Meta three-way passive speakers, I found that I was consistently using only the upper 15dB region of the volume control’s 100dB range to achieve a good level in my listening space. This seemed odd, given that the KEFs have a sensitivity of 87dB (measured at 2.83V at 1m), which isn’t unusually low, combined with a nominal impedance of 4 ohms. The minimum impedance dips as low as 3.17 ohms, which increases the demand on the amplifier, but I was surprised how little headroom I had at playback levels that weren’t unusually high.
I also connected my Rythmik Audio subwoofer to the RCA subwoofer output. This worked as I had hoped, with my usual 80Hz crossover point set and no additional gain required. I did the majority of my listening using Qobuz running on the Play. I also auditioned using the optical and HDMI ARC inputs, with my laptop as a source device.
Using this setup I found the delivery to be clear, detailed, and tonally balanced, with no discernible coloration. The Play excelled in dynamic presentation and rhythmic precision across various genres. Bass-heavy pop tracks were delivered with weight and clarity; acoustic and jazz pieces had excellent instrument separation and spaciousness.
The room correction noticeably improved clarity and reduced problematic resonances in my small 11′ × 8′ den, which has some acoustic treatment but does exhibit a few low-frequency issues.
I began my critical listening with Nation of Language’s “Weak in Your Light” from Strange Disciple (24-bit/96kHz FLAC, Play It Again Sam / Qobuz), a refined melding of synth-pop and post-punk. On this track, which is built with an economical set of instruments and vocals, the Play created a wide, cavernous image between the KEF R3 Metas in my den. Analog synthesizers processed with copious amounts of delay saturate the sound with subtly decayed, warm textures evocative of 1970s and 1980s electronic music. Each instrumental voice was beautifully represented without cluttering the mix, allowing the song’s human energy to shine through untouched.
The heavy use of tape-delay effects on the track adds lushness and a vintage vibe, and their subtle unpredictability introduces extra character. Through the Play, the analog aspects produced a soundscape that sounded simultaneously nostalgic and contemporary. The song’s arrangement and production choices create a sharply evocative, danceable-yet-introspective track with personality to spare.
Kimbra’s “Good Intent” from Vows (16/44.1 FLAC, WM Indonesia / Qobuz) is built upon a rich tapestry of jazz-pop elements and clever production techniques. The loping bass line and percussion that open the song were intricately arranged between the speakers, with syncopated rhythms sounding like shuffling feet. Interwoven pizzicato strings and bell-like autoharp tones created captivating melodic highlights, offsetting the laid-back groove with a sense of unpredictability. Kimbra’s lead vocal sounded agile, slinking through the mix with charm and expressive range.
The mix achieves a clean balance between organic feel and polished sophistication. Spatial effects and reverbs deepen the sound without drowning the delicate interplay between vocals and percussion. Through the Eversolo Play and my KEF standmount speakers, “Good Intent” felt both organic and carefully constructed: groove-heavy, intricately textured, and brimming with nuance.
Nick Lowe’s “I Love the Sound of Breaking Glass” from Jesus of Cool (30th Anniversary Edition) (16/44.1 FLAC, Yep Roc Records / Qobuz) is a textbook example of late-’70s pub rock fused with power-pop brilliance. The instrumentation is all about dynamic interplay. Steve Goulding’s lively drums and Andy Bodnar’s driving bass set a playful foundation that sounded punchy and solid with help from the seamlessly integrated subwoofer in my den. Meanwhile, Bob Andrews’s quirky piano interventions elevate the arrangement, making it far more eccentric and engaging than your average rock song. The Play allowed Lowe’s voice to sit comfortably atop this groove, relaxed but expressive, mirroring the song’s witty, sarcastic tone.
Lowe’s production approach captures a “live-in-the-room” feel, giving the song its immediacy and slightly raw edge. Emphasis in the mix is on the rhythm section and piano. Everything sounded tight and uncluttered, supporting Lowe’s vocal and guitar lines without overwhelming them.
Taken from the Starcrash album, Stilz’s “Test Pilot” (16/44.1 FLAC, Lazerdiscs Records / Qobuz) is a study in the fusion of retro-futuristic electronic textures and precise modern production. Layered synthesizers sweep through atmospheric pads, pulsating arpeggios, and melodic hooks, forming the heart of the track.
The accompaniment of tightly programmed beats lends the track extra dimension and depth. The arrangement excels at tension and release: textures and rhythms evolved dynamically through my setup, keeping me engaged as the sonic picture built and shifted. It’s a polished, deeply engaging electronic track where the arrangement and studio techniques work in tandem to produce a sonic world that I found to be highly immersive when rendered by the Eversolo Play.
Comparison
The most obvious product to compare the Eversolo Play with is the WiiM Amp Ultra, a direct competitor with a very similar feature set that retails at a lower price of US$529. Although I don’t have experience with the WiiM Amp Ultra, I did recently spend time with the WiiM Ultra streaming preamplifier, which shares the same interface and is similarly featured, with the obvious omission of the onboard power amplifier. During my time with it, I found the WiiM’s user interface to be far more intuitive and the setup process more refined and frictionless.
The WiiM Amp Ultra is priced significantly lower; the main differentiators are that it lacks support for AirPlay, but does include a voice-enabled remote control. Both devices provide multiroom capabilities and work well within their ecosystems. The WiiM’s touchscreen display is smaller with inferior resolution, although I don’t consider that to be of any real significance.
Conclusion
The Eversolo Play is a compelling streaming integrated amplifier offering connectivity, sound quality, and user control. It combines the essential features of Eversolo’s more-advanced network streamers and standalone amplifiers, making high-resolution streaming amplification affordable and straightforward.
The Play stands out for its high-quality touchscreen interface and the Eversolo Control app, offering comprehensive control and customization options. The Play is an excellent entry point to Eversolo’s broader range of premium hi-fi products.
However, my time with the device showed that the user experience could be smoother, and it also featured some minor glitches that meant the audio playback wasn’t as pristine as it could have been. My feeling is that if the software were as robust as the hardware, this product would be a win for Eversolo. I hope that with continued software efforts the app and user interface in general continues to improve.
With that in mind, the Play will certainly appeal to those who appreciate advanced EQ and room-correction features, and its solid sound signature will satisfy those looking for transparent and dynamic performance. This amplifier could be a great fit for those wanting a modern streaming solution with plenty of tweakability that doesn’t sacrifice analog compatibility or build quality.
. . . AJ Wykes
Associated Equipment
- Laptop: Apple MacBook Pro (2019)
- Smartphones: iPhone 15 (iOS v18.6) iPhone SE 2 (iOS v18.6)
- Speakers: KEF R3 Meta
- Subwoofer: Rythmik Audio 12″ Direct Servo
- Display: XGIMI Horizon Pro XK03H Smart 4K portable projector
- Measurement microphone: miniDSP UMIK-1
Eversolo Play streaming integrated amplifier
Price, as tested: US$699, CA$1099, £599, €699; US$799, CA$1199, £699, €790 for CD Edition
Warranty: One year, parts and labor
Eversolo Audio Technology Co., Ltd.
Chentian Stock Building Floor 13
Dingjunshan Film Technology Industrial Park
Baotian First Road, Xixiang Avenue
Baoan District, Shenzhen
China
Phone: +86 755 23500280
Email:
Website: www.eversolo.com
