Moving on, let's turn to exclusively digital feeds. The subtly euphonic note continued not least with a view at the upper registers. Compared to the DMP-A6 ME, the A8 sounded more finely chiselled and a bit silkier, therefore more effortless at the same high resolution. Viewed from a strictly neutral ideal, the A6 moved more into research mode, the A8 drew more calmly, loosely and gently despite the same transparency so sat a touch on the warmer side. Despite above-average resolution for this price range, the treble fit very harmoniously into the overall structure and was one of the A8's best attributes. It made exaggerated sibilance more pleasant than the DMP-A6 ME and was just as suitable for long-term use as the emphatically stress-free Wattson Emerson Digital. Due to such attention to detail and outline definition which flashed a tad finer on percussive elements, the Eversolo still stood apart from all the other players mentioned. Its ultra-fine polished transparency in fact reminded me more of Linn's €5.5K Akurate DS. The same applied to its microdynamic behaviour which I enjoyed a lot with violins where the A8 effortlessly tracked lazy decays and energetic emphasis. This tasty salt in the stew deserves special praise as well.

The digital i/o.

So by direct comparison to the €1'299 DMP-A6 ME, I much preferred the DMP-A8 in terms of resolution, consistency and naturalness in the treble. Fittingly, these AKM Velvet Sound chips are said to be softer and warmer than the more analytical ESS variants. Either way, many other factors ultimately determine the sound such as the power supply, quality of the output stage, in fact the entire circuit periphery around the converter heart. Just so, the comparison between Eversolo siblings once again confirmed an old chip-based cliché. Across the midrange I noticed only minor tonal differences, otherwise none of the comparison devices really stood out though the Eversolo's accurate, pleasantly organic note with its minimally warm diction remained most appealing. The Wattson was warmer and fuller still but only the DMP-A8 presented piano and flute beautifully organic without emphasizing the lower midrange.

Let's add a classical piece to explore the spatial qualities of the Eversolo: Three Pieces for Orchestra, Op.6 1st Prelude from the eponymous work by Alban Berg here conducted by Pierre Boulez. Individual strings localized precisely and defined themselves almost three-dimensionally in front of my inner eye. The same applied to the brasses which drew attention in a nice sharp way. In all this, the DMP-A8 extended more generously than the DMP-A6 toward the stage edges and shone more far-reaching and absolutely exemplary into the depths.

Exactly where a tonal event took place, that's where the A8 focused. The DMP-A6 cast less pronounced depth to feel a tad more superficial. Of course none of this was worlds apart. After all, we're not comparing loudspeakers. Just so, neither the Innuos ZenMini Mk3 nor Wattson Emerson Digital reached quite the spatial resolve of the DMP-A8.

The outer workmanship is simple but high quality.

The deep bass of the Eversolo DMP-A8 was another feature I really liked. "Water From An Ancient Well" by Abulah Ibrahim (Album: 3) impressed with its opulent yet powerful double bass which remained tightly defined and precise. Perhaps the bass level sat a bit above strictly neutral but integrated so well that nothing stood forward. Of the decks mentioned, only the warmer Wattson could keep up. The Innuos ZenMini Mk3 sounded a little more accentuated and tight but leaner and a tad too sober. Especially the oft-used "Limit To Your Love" by James Blake (album: James Blake) showed that the DMP-A8 not only released a lot of energy from the lowest registers but did so very cleanly. When such versatility and a pleasant character combine in one device, we really can talk about a high-fidelity masterpiece without feeling like pathetic shills. However, the Eversolo streamer is likely less suited to emphatically analytical and factual minds who value a harder treble profile and prefer a less euphonic possibly slimmer tonality.