⌈ EVERSOLO is one of the youngest brands in the audio market, dating back to 2023. It belongs to EVERSOLO AUDIO TECHNOLOGY Co. Ltd., which in turn is owned by Zidoo Technology Co, Ltd. The Zidoo company itself was founded in 2014. Despite being relatively new, EverSolo is widely known in audio circles. We're testing its power amplifier, the stereo AMP-F10, which belongs to its top-of-the-line series, both in the stereo version and as bridged monoblocks. ⌋

THE RAPID CAREER WE ARE WITNESSING with the Eversolo brand is truly admirable (its name is stylized as 'EverSolo'). Founded in 2023, it has already won numerous awards from European, US, and Canadian audio magazines, along with the seemingly quite exclusive and brand-focused EISA. It was awarded to the DMP-A8 model, a file player with a preamplifier section. In the laudation, the award committee wrote:

It’s not often a product arrives that redefines its category, but Eversolo’s DMP-A8 streamer does exactly that. Inside its slender aluminium housing, the latest dual-chip AKM DAC solution is married to a high-quality R2R volume control, making it a capable preamplifier, while an array of inputs and outputs – from balanced analogue to USB-B – handle source and amp connection. (…) However you use Eversolo’s streamer, your music will sound and look great!

⸜ EISA Streamer 2024-2025: Eversolo DMP-A8, → EISA.eu, accessed: 26.07.2025.

Such rapid success would of course not have been possible if Eversolo hadn't had the powerful support ofthe experience of its parent company, Zidoo Technology. Founded in 2014, two years later it presented its first 4K UHD player, the Zidoo X9S. In 2019-2020, its flagship file players were created, in which, as we read, special attention was paid to audio circuits. Based on them, the Eversolo brand was "launched" in 2023.

▌ AMP-F10

AT THE HEART OF EVERSOLO ENGINEERS' INTERESTS are digital circuits, and above all audio file players. However, the manufacturer has broader ambitions: they would like to influence a larger part of the audio chain, which is why they also offer two stereo power amplifiers: the AMP-F2 and the flagship model, the AMP-F10. The "10" is an excellently crafted, beautiful product. It has borrowed design details from Rotel, Yamaha, and other Japanese manufacturers, but does so tastefully and without being intrusive; you could say it "draws inspiration from..."

It's a medium-sized but massive device in an enclosure made from black anodized aluminum elements with distinctive output power indicators. Its construction utilizes very good passive components, as well as proprietary developments regarding audio circuits. An example would be the shielded modules placed in the amp control section – they look like discrete op-amp circuits. The manufacturer writes about them:

The AMP-F10 is equipped with advanced dual differential amplifiers, which are tailored for low-level audio signals. Its symmetrical circuit design and negative feedback technology minimize distortion, ensuring high-fidelity and high linear audio output. This design not only expands dynamic range but also effectively suppresses common-mode noise(such as power and environmental interference), keeping the output sound broad and natural at any volume levels.

⸜ Bring Every Note to Life. AMP-F10, → www.EVERSOLO.com, accessed: 28.04.2025.

The device isn't particularly huge, measuring 430 x 310 x 147 mm and weighing 18 kg, but it offers powerful output: 200 W at an 8 Ω load, 320 W at 4 Ω, and a whopping 450 W at 2 Ω. It is also prepared for bridge mode operation. It then acts like a monoblock, delivering up to 650 W at 8 Ω and 950 W at 4 Ω. Lower impedances are not recommended. And all this, let's add, with a very high output damping factor of 600, as well as low distortion and noise. That's a really good design.

The power supply uses a 1000-watt toroidal transformer, and the high output current is provided by five pairs of MOS-FET transistors per channel; in bridge mode, that's ten transistors per channel. The input and control circuit have a balanced design, so we can connect to the amplifier using both XLR and RCA cables. We can also adjust the system gain to match the preamplifier and loudspeakers. With the switch on the back panel, we can change it from 29 to 23 dB.

As we have mentioned, the device can also be bridged. A small switch is used for this. We then plug the speaker cables into the two internal sockets and feed the signal to the left channel inputs. All of this is described in a nice and clear way on the back panel. We decided to test this option as well – the main test concerns the amplifier operating in stereo mode, and at the end we'll say a few words about the bridged mode operation.

▌ THE LISTENING SESSION

THE WAY WE LISTENED • The Eversolo AMP-F10 power amplifier was tested in the "High Fidelity" reference system. It was compared to a reference two-piece amplifier, specifically the Soulution 710 transistor power amplifier and the Ayon Audio Spheris III line preamplifier. During the test, I used an Ayon Audio CD-35 HF Edition SACD player and a Lumin T3 file player as sources.

Signal between the preamplifier and amplifier was transmitted via a Siltech Single Crown RCA interconnect and delivered to the speakers via a Crystal Cable Da Vinci speaker cable. The amplifier was driving Harbeth M40.1 loudspeakers. During the test, it was standing on its feet on the top carbon shelf of the Finite Elemente Pagode Edition Mk II rack.

I performed a separate test in the bridge mode, with two AMP-F10 amplifiers, one per channel. To solve the power supply issue, as I needed both amplifiers to be warmed up, similarly to the reference amplifier, I slightly changed the power supply layout. An Acrolink 8N-PC8100 Performante Nero Edizione cable was plugged into a wall socket. After it, I used a small Essential Audio Tools Myni power strip, and connected all the amplifiers with three identical cables from the same company from it.

» ALBUMS USED IN THE TEST ⸜ a selection

⸜ JASON ISBELL, Foxes in the Snow, Southeastern Records/Tidal, FLAC 24/96 ⸜ 2025.
⸜ IGGY POP, Après, GM Records/Tidal, FLAC 16.44,1 ⸜ 2012.
⸜ CHARLI MUSSELWITE, Look Out Highway, Fotry Below Records/Tidal, SP, FLAC24/96 ⸜ 2025.
⸜ CANNONBAL ADDERLEY, Somethin’ Else, Blue Note/Esoteric ESSB-90125, SACD/CD ⸜ 1958/2015 w: 6 Great Jazz, „MasterSound Works”, Blue Note/Esoteric ESSB-90122/7, 6 x SACD/CD.
⸜ BILLIE HOLIDAY, Body and Soul, Verve Records/Mobile Fidelity Sound Lab UDCD 658, seria „Original Master Recording, Ultradisc II”, Gold -CD ⸜ 1957/?
⸜ LOU REED, Transformer, RCA Records | Sony Music Entertainment/Tidal, FLAC 24/96 ⸜ 1972/?
⸜ PORTISHEAD, Dummy, Go! Disc Limited/Universal Music Company [Japan] UICY-20164, SHM-CD ⸜ 1994/2011.

»«

THE FIRST GUITAR CHORDS BY JASON ISBELL from the album Foxes in the Snow and it's clear: the Eversolo amplifier is a device that plays in a romantic way, in the sense that it doesn't attack or strain our ears with a bright sound. I would say the musical message it gives us is almost slightly warmed up, if it weren't that it's more about softening the sound attack rather than boosting the lower midrange and pulling back the treble. The steel strings of the acoustic guitar had a distinct character that we associate with this type of guitar, and the vocals were open and clear.

The guitars sounded in a similar way in the song ˻ 9 ˺ Michelle by The Beatles, which was played right afterwards, but this time sung by IGGY POP. With that recording, I also heard that although the foreground isn't brought closer to us and we're not dealing with sound being pushed towards us, the backgrounds were closer to me than with the Soulution amplifier. It was as if the device was collecting sounds over a shorter timeframe. Still, there were not fewer sounds, which made the message seem incredibly rich internally.

This reminded me of the sound of the Leben CS600X amplifier. It wasn't as saturated sound as from the Japanese tube device, but it wasn’t as far away from it as one might think. Ultimately, geographically, China is closer to Japan than to Switzerland, isn't it? But seriously, the point is that the sound of the tested amplifier has been shaped in such a way as to fit comfortably into as many speaker systems as possible and to sound good even in rooms not perfectly suited for playing music with audiophile equipment.

Both recordings showed the vocals in a tangible, cool and dense way. This gave me confidence that the device wasn't cutting anything from the bandwidth, because the bass was saturated, almost to the full, and the treble was clear. It was more "present" than "pushy". That means it was shown slightly from behind, although clearly. The long reverb applied to Jason Isbell's guitar and vocals was therefore slightly shortened, and the performer seemed to be playing in a more damped space. Similarly, Iggy Pop's vocals and then Charlie Musselwhite's harmonica in the recording ˻ 1 ˺ Look Out Highway were also like that.

In short, it's very pleasant, nice sound. It fits into the retreat from the bright, hard, strident way of playing music I still heard a few years ago, usually at audio shows. It is as if the audience, and therefore audio manufacturers, desired something other than eternal excitement and constant stimulation. This is usually a retreat with a slight inclination towards calming the sound. But that, in my opinion, is a much better solution than the reverse, as it allows for comfortable listening in any situation, even when we're tired or simply fed up with everything.

We rarely discuss the issue related to the listening method from a sociological perspective in audio. And I think we need to start changing that slowly. On the one hand, device reviews should be as unbiased as possible and if they are biased for any reason, that reason should be clear to the reader. But on the other hand, the interpretation of the ratings should lean towards understanding a typical listening situation. Ultimately, audio isn't an exercise in patience; it's not meant to be a constant assessment of our competences. Yes, we are meant to be stimulated to develop, but it must be development on our terms, not forced by sound.

That's why what the Eversolo amplifier showed seemed particularly interesting to me. It's somewhat calm sound, that's clear; slightly shifted towards the low midrange – that's also known from the very beginning. But it's also internally complex, rich and thoughtful. You see, after a while (that is, after a few dozen years and, somehow, after testing over a thousand products, you develop a certain proficiency in determining not even the product class, but the approach its designers took. You can really hear it. And here you can hear that the AMP-F10 was prepared by someone who was aiming for this particular sound. And that it wasn't an accident.

So, when the piano at the beginning of ˻ 1 ˺ Autumn Leaves from CANNONBALL ADDERLEY’s Somethin’ Else enters, you can immediately hear that although somewhat muffled, as is typical of Rudy Van Gelder recordings, it is still a large instrument in a large space. It will soon get a larger reverb, generated by the EMT 140 reverb devices ("reverb plate"), but you can also hear the large studio space in Hackensack, Van Gelder's second studio. With the Eversolo, it is instantly clear.

However, there's no exaggeration in that; the sound isn't artificially thickened to sound that way, to increase the volume in that manner. As I said, the instruments are clear and tangible, but their image is projected a little further away from us than with the reference amplifier, and it's also not as sharply defined. However, there is saturation and honesty with which the tested amplifier from China conveys emotion. This type of sound accompanies any album, as also the PORTISHEAD album Dummy, a classic of trip-hop music recorded in a deliberately lo-fi style, sounded equally engaging.

Bass generated in ˻ 5 ˺ Wandering Star, a monophonic piece, was a bit soft, but not enough to derail the rhythm. The cymbals had a nice outline, they are surprisingly clean in this recording, but they were also slightly withdrawn. However, what seemed more important to me was that in this sound there was deliberation, there was finish. Nothing went to the foreground, it was almost pastel, even with the bright trumpet in the title track from BILLIE HOLIDAY's album Body and Soul. In contrast, Ben Webster's tenor saxophone was deep and velvety.

BRIDGE • My experiences with bridged amplifiers are very mixed. However, when I dredge up examples from my memory that have stuck with me the most, I mostly encounter disappointment. Not always, but still. Technically, bridging a power amplifier is trivially simple. Practically speaking, however, it’s tour de force, at least when it comes to sound.

Perhaps that's why I listened with such pleasure to what the Chinese designers had prepared. The sound of TWO AMP-F10 power amplifiers is even more velvety than that of one. Bridging usually strengthens and clarifies the musical message, but here it's the opposite. However, I also got a wider sound scale and better imaging. Webster's saxophone, which I have just mentioned, was larger and, interestingly, more tangible and "visible". It was warmer sound, I have no doubt about that, but also clearer!

I also got bigger, warmer, and clearer sound from the Portishead album. It was more about a clearer presentation of the sounds there, as if the energy transfer was more efficient in this system. Power is one thing, but what's much more important is how it will spread across the band, across the dynamics, across the imaging. With two Eversolo amplifiers, there is significantly higher energy across the entire band, thus making the musical message more emotional. Still a bit calmed down, just to be clear, but more "here and now."

One only needs to check one thing at home. The mid-bass was stronger in the bridged amplifier configuration. That means its attack was stiffer. If the system plays like that on its own, it might be too much, and in that case, a single AMP-F10 would definitely play better. So, if you prefer more treble, one Eversolo amp will do it better. However, if we want big, room-filling sound with a velvety attack, but also with a lot of energy, then listening to two devices seems like something we shouldn't deny ourselves.

▌ Conclusions

THE PENDULUM SWINGS TOWARDS WARMTH. That's how I interpret what I hear from audio devices, and it’s been like this for quite some time. Certainly, sooner or later, it will shift to the position of precision, openness and attack. That's how it works. Contrary to appearances, however, these are not exactly the same places, and the returns are not to the same areas. Each time, we gain something more, as if the experience acquired in that other "reality" was being applied in this present one.

The Eversolo belongs to the "warm" and "dense" sphere. It's a smooth, silky-sounding amplifier with a well-maintained rhythm and clearly articulated dynamics. The high frequencies in its sound are slightly withdrawn, while the mid-bass and low midrange have higher energy than the rest of the band. The device has a very nice bass response. It is warm, but it doesn't have a smeared front or a blurred "tail". We're talking about a device that has very good control over the speakers.

This device is designed for long, relaxed listening sessions. In the "bridge" mode, it's even warmer, but it also has higher energy in the bass and midrange. The sound image is then larger and more tangible with it. In both cases, however, we're talking about sound very similar to what we used to call "tube," but it's not the same as "tube" a few years ago. The resolution is higher here, as is the control over the sound. And yet, the most important thing is that you can hear the people behind this design, and you know they are experienced music lovers and audiophiles. Things like this don't just happen by chance.

▌ DESIGN

THE DESIGN OF THE EVERSOLO AMPLIFIER is an example of extremely solid, precise and well-thought-out craftsmanship. This isn't "patching" and trials, but an immediately well-thought-out design created in CAD or a similar tool. This also applies to packaging. Not only are they pretty, but they're also very convenient. When I pack heavy equipment, I usually curse a lot, and I'm sure whoever designed it was laughing, knowing someone would have to put it all together. This time I packed both amplifiers almost single-handedly (I'm exaggerating, but not too much).

FRONT AND BACK • The amplifier has a low, solid form and is made of aluminum elements screwed together. The stiffest parts are, of course, the radiators, which constitute the side walls. They have a nicely cut shape that adds variety to the device's appearance. The sides of the front are also cut, making it resemble a diamond – and that's probably what the manufacturers were aiming for. I think so because both the logo on the front of the device and the same logotype painted on the packaging shimmer in the light, just like diamonds.

The front of the device, of course, features the output power meters, or rather VU meters. They are relatively small and have white backlighting. This turns out to be an incredibly calming choice, as they are not intrusive, yet they are there. In the middle, there's also a standby button with an illuminated ring, which is also discreet. The back is quite crowded, but here too, order, rigor and ergonomics are evident. The sockets and switches are well and sensibly labeled. And that's important because the AMP-F10 can operate both as a stereo amplifier and in bridged mode.

Looking from above, we have the inputs – this is a hint that we are talking about a separate printed circuit board for this section. There are both RCA and XLR inputs here. Between them is a switch that we use to select the active input. In the middle, there's the input sensitivity adjustment and mode selection – stereo and bridged. Two pairs of speaker terminals and a power socket with a mechanical mains switch are located along the bottom edge. Between these two sections, there is also a group of sockets and a switch. The first ones are used to connect the company's devices into a system and turn them on and off with a single button. The switch allows you to choose whether the device is "woken up" by a trigger or by the appearance of signal at the input.

INSIDE • Looking at how precisely the AMP-F10 enclosure is made, how well-designed it is, you could expect the electrical part to have been made in the same way. And it is just as precise and just as well-developed.

The circuit is distributed among four boards, with an additional one for the indicators at the front panel. The device has an almost dual-mono design, with a shared transformer and two secondary windings, as well as a shared input board. The input circuit is based on discrete circuits enclosed in shielding cans. This is reminiscent of similar ideas from companies like NAD and Marantz (HDAM: Hyper-Dynamic Amplifier Modules). The inscriptions on them say they are symmetrical circuits. This section has its own power supply circuits.

The signal from the pre-section is transmitted unconventionally to the power amplifiers. While it's a classic balanced cable, it's terminated with high-quality, screw-on connectors, typically used in telecommunications. Apparently, it was about maintaining a specific link impedance – I assume 50 Ω.

The power amplifier modules are mounted on boards screwed vertically to the heatsinks. They also have similar modules on their input, although their shape and inscriptions suggest a different design. These are very powerful amplifiers, which is why each channel uses as many as five pairs of MOS-FET transistors operating in a push-pull mode, in class AB. Heavily warming radiators without input signal suggest that the first few watts are delivered in Class A.

The power supply is located on the largest board. Its base is a powerful 1 kW toroidal transformer. It has separate secondary windings for the left and right channels and for the input and auxiliary circuits. The power supply uses eight large and eight smaller capacitors to filter out mains ripple. They have the Eversolo logo, but they must be produced for this company by an external specialist. They have a high temperature specification, which makes us think well of their durability. The other components are high-quality, including Wima polypropylene capacitors, good resistors, etc.

The entire device looks very, very good. ●

▌ Technical specifications (acc to the manufacturer)

Continuous output power (RMS):
• stereo – 200 W/8 Ω ⸜ 320 W/4 Ω ⸜ 450 W/2 Ω
• bridge mode – 650 W/8Ω ⸜ 950 W/4 Ω
THD + N: 0.008%
Signal to noise ratio (SNR), 200 W/8 Ω/1 kHz:
• gain 23 dB: ≥113 dB (A)
• gain 29 dB: ≥110 dB (A)
Frequency response: 10-30 kHz (8 Ω: ±0.5 dB)
Crosstalk (200 W, 8 Ω, 1 kHz): ≤-95 dB
Input impedance: 10 kΩ – RCA/XLR

Input sensitivity (200 W, 8 Ω, 1 kHz):
• RCA, gain 23 dB: 2.65 V
• RCA gain 29 dB: 1.3 V
• XLR gain 23 dB: 5.2 V
• XLR gain 29 dB: 2.4 V
Damping factor: >600 (8 Ω, 1 kHz)
Dimensions (W x D x H): 430 x 310 x 147 mm
Weight: 18 kg

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THIS TEST HAS BEEN DESIGNED ACCORDING TO THE GUIDELINES adopted by the Association of International Audiophile Publications, an international audio press association concerned with ethical and professional standards in our industry, of which HIGH FIDELITY is a founding member. More about the association and its constituent titles → HERE.

→ www.AIAP-online.org