Eversolo Play Streaming Amplifier Review

Single-box streaming DAC amplifiers – digital music systems, if you like – are currently the big thing in audio. In my recent ‘first impressions’ piece on Eversolo’s Play, I found it to be one of the best examples of this type of product. So now, with more time spent with it, let’s have a closer look…

Up Close

As befitting a lifestyle product, the unit’s 3kg unibody chassis is constructed from aluminium alloy and measures 230x230x83mm. The antennas for Wi-Fi and Bluetooth are internal, keeping the lines clean. The heatsinks are on its underside and keep things cool, even after prolonged periods of use. According to Eversolo, the internal power supply uses PFC-LLC technology to increase energy efficiency. For long-term reliability, the manufacturer says the circuit includes inrush current and overheating protection.

The fascia sports a 5.5” colour touchscreen, plus rotary knobs for volume and power. Most features are accessible through the bright and responsive touchscreen, although users will likely use the Eversolo Control App instead. The company has simplified its UI for the Play, putting icons into six groups, namely Music Services, Functions, Apps, Connect, Cloud, and Settings. Finding things is now easier, removing the need to dig through multiple sub-menus.

If you opt for the ‘CD edition’, the Play also includes a Hitachi-LG CD-ROM drive. The tray ejects out by 128mm from the left side, so please leave some space there. Eversolo claims that the vibration-damped chassis significantly reduces resonances during disc playback while proprietary error-correction algorithms improve tracking of scratched and aged media.

Pricing for the CD edition: USD $799 | €799 | £699 | SGD $1,299 | AUD $1,349

On the rear, the unit has two pairs of analogue RCA inputs (one dedicated to the phono stage), two digital inputs (coaxial and optical), and HDMI eARC/ARC for your television. There is also a Bluetooth receiver. On the output side, you have digital outs via coaxial and USB, as well as a mono subwoofer socket. A second USB-A socket connects the Play to your computer for file transfers, or external storage for music files (the Play lacks the SSD storage slot found in Eversolo’s other streamer models). Lastly, the Play joins your home network via the Gigabit Ethernet LAN port (which supports Wake-on-LAN) or dual-band Wi-Fi, which is robust despite lacking external antennas. The only omission I would have liked is a pair of pre-outs to hook the Play up to an external amplifier.

The Bluetooth BT5.3 module supports SBC and AAC, which isn’t anything fancy but gets the job done. There is no transmission capability, so you can’t pair the Play with wireless headphones or active monitor speakers. AirPlay is supported, which should please Apple users. Sadly but inevitably, analogue signals are digitised when they enter the Play. The phono stage supports both MM and MC cartridges with a gain of 60dB for the former and 74dB for the latter – pretty standard stuff.

The digital audio section is based on the AK4493 SEQ DAC from Asahi Kasei’s respected Velvetsound range, which decodes music files of up to 32/768kHz and DSD512. Supported file formats include MP3, WAV, FLAC, AIFF, AAC and DSD. The built-in amplifier uses a Texas Instruments Class D power module that’s claimed to deliver 60W per channel into 8 ohms and 110W into 4 ohms. The streamer supports most major music services, including Qobuz, Deezer, Apple Music, Amazon Music, KKBOX and Tidal. For local music files, the Play works with Roon and UPnP.

Getting Going

Setting up the Play was simple enough. I connected it to my home network with a LAN cable and fired up the Eversolo Control App. The plethora of options includes a room correction function, plus parametric and graphic equalisers. The former is automated, and a correction curve is generated after running sweep signals in your room. You can also limit the correction to a specific frequency range, like bass. The sub output is also a cinch; you can adjust output levels, the crossover point and phase from the app. Inputting the physical distance of your speakers and subwoofer from your listening position automatically sets the delay to ensure they’re in sync.

For this review, I partnered my Play with KEF LS50 speakers, placed on sturdy 24” Partington Super Dreadnought stands around 80 cm from the rear wall and with 20 degrees of toe-in. With its quoted 85dB sensitivity, the KEF is a tough speaker to drive for inexpensive amplifiers, so prospective purchasers should be partnering with more efficient designs where possible.

The Listening

The Play greeted me with a warm and comfortable sound that was kind to most genres of music. Yo-Yo Ma and the Royal Philharmonic Orchestra’s performance of Finzi’s Cello Concerto in A Minor, I. Allegro Moderato sounded impressively realistic, with a wide soundstage and realistic stereo imaging for a budget product such as this. The cello was well reproduced, with decent timbre.

Jacintha’s voice on The Thrill Is Gone sounded soothing on this easy-listening jazz number, with its warm and relaxed midrange. On closer examination, the vibraphone, bass and drums lacked fine detail, with the former not sounding as crisp as usual. This is where the Play’s smooth top-end worked against itself, as its gentle roll-off reduces treble extension – but this did little to detract from my overall enjoyment of the music.

With powerful, dynamic pieces like Time from Inception OST performed by Hans Zimmer, the orchestra created a powerful and suspenseful mood. I was encouraged to turn up the volume, but when I did, the music started to sound slightly strained and compressed. Keeping volume levels moderate, the Play regained its composure. Bullet in the Head by Rage Against the Machine sounded softer than it really should, with drums and electric guitars losing some bite.

With the room correction feature and the automated correction curve, I improved focus and bass tightness, but I preferred the more lively albeit messy presentation with the system switched off. This was done with my phone’s internal microphone, and perhaps I would get better results with a calibrated microphone. Hooked up to my TV, the Play delivered a pleasing sonic upgrade. Good low-frequency grip ensured that action scenes were suitably impactful, and dialogue was clear. The HDMI input lacks CEC, though, which means that the Play won’t switch inputs automatically nor be controlled by the TV remote.

The CD drive played my vintage discs without incident. While spinning, vibrations from the chassis were minimal, so the damping treatment does work. Tapping my fingers on the unit’s chassis didn’t faze the Play either. The unit will cleverly retrieve album art and information automatically when you insert a disc.

You may also choose to rip discs to the limited internal storage (the 32GB eMMC memory has about 20GB free space) or a network drive. CDs sounded dynamic and engaging, with plenty of energy, although some tracks lacked the finer detail and composure of their streamed equivalents. One minus point is the flimsy CD tray that flexes unduly when discs are loaded onto the friction-locked spindle.

Vinyl received complimentary treatment too, with good detail and life. The sound from my Luxman PD-171a turntable and Denon DL-103R MC cartridge was well-balanced and quiet. The Luxman is much more expensive than the typical budget deck that Play users would be using, so the phono stage should be good enough to survive an upgrade or two.

The Verdict

After putting the Play through its paces, my conclusion is that Eversolo has a winner on its hands. It looks great, is easy to use, and makes nice music – but don’t go thinking it’s on the level of a good separates system. In truth, it’s designed as a friendly music maker for smallish rooms and/or moderate volume levels – a role that it performs very well. Given its low price and mission objective then, it is close to perfect in my books.

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