Volumio Primo: Is It Really Necessary to Go Further?

Recently, I referred to another streamer as “The Node Wears Prada.” Following that same line of thought, Volumio products—Rivo, Integro, and Primo—with their discreet, neoclassical elegance, could easily be dressed by Armani.

The Volumio Primo is a well-sculpted piece, built from two aluminum parts: an outer shell covering the top and sides down to the feet, and a base piece. The front is plastic with a wood-like finish, featuring a central button with an LED that indicates the device’s status: red in standby, blue when on, and green during startup or reboot.

The Primo is a streamer with an integrated DAC (ESS 9038Q2M chip for those interested, though implementation is more crucial than the chip itself). It receives binary data from multiple sources: Ethernet, Wi-Fi, Bluetooth, and even MicroSD through a dedicated slot. It also includes two USB ports (2.0 and 3.0) for accessories, storage, or CD drives (with ripping capability), as well as USB DACs, HDMI (to visualize control interface with a TV), and a coaxial output for an external DAC. The analog outputs are balanced (XLR) or single-ended (RCA). Primo supports PCM files in all known formats up to 24bit/192kHz, and up to 32bit/768kHz or DSD256 on USB output.

The Volumio Interface: A New Perspective

As I’ve mentioned before, the user interface (UI) is a crucial part of any streamer evaluation. Until now, every system I’ve tested followed the logic of mobile operating systems (yes, Eversolo, I’m looking at you!). This isn’t a negative thing, quite the opposite. However, Volumio took a different approach, which can be explained by its background. I first heard about the brand due to its software, widely used in the DIY community for creating servers and streamers out of microcomputers.

Bridging platforms can imply a learning curve. Transitioning to Volumio was a familiar experience, though not without its challenges. After installing the app on my iPhone, Primo initially wasn’t recognized on the network. Curiously, on my wife’s phone, also an iPhone, the app discovered the device imediatly without issues, suggesting that the problem was on my phone—a “minefield” of installations and successive app removals, leaving the usual loose ends.

To work around this issue, I found that I could access Primo directly via a browser at http://volumio.local from a phone, tablet, or computer. Honestly, this solution could also prevent potential conflicts between the app and the operating system whenever updates occur.

Volumio Software Performance and Flexibility

The interface design is clear and intuitive. The home page provides easy access to playlists, music library, radio stations, and streaming services. Volumio offers native integration with platforms like Tidal and Qobuz and even supports Apple Music via Airplay, which I used without needing any additional plugins.

Flexibility is one of Volumio Primo’s major strengths. With numerous configuration options and the ability to install plugins, the system excels even when compared to other solutions. Volumio stood its ground, bringing a different yet equally competent approach.

Streamer Comparisons: How Did Volumio Primo Fare?

For this review, I used the Pier Audio MS 480-SE (reviewed here) and the Marantz Stereo 70s (reviewed here) as amplifiers. The speakers were the Triangle Borea 03 and Bowers & Wilkins 607 S3.

I compared the Volumio Primo with three other streamers: the Denon DNP-2000NE, the Eversolo DMP-A6 Master Edition (head-to-head here), and the Primare NP5 Prisma MkII, which lacks an integrated DAC and was tested with the Fezz Equinox by LampizatOr (review here). This last setup, with a total price of €3100 (€2500 for the DAC and €600 for the transport), is in a different league price-wise.

Compared to the Primare and Fezz combo, the price difference makes the comparison unfair, as does the gap in detail, soundstage, and organic feel that this setup brings.

With the Denon and Eversolo, priced at €1600 and €1300 respectively, the Volumio Primo stands on equal footing. I appreciated the Eversolo’s flexibility and potential for growth, though its sonic performance, especially in prolonged sessions, leaned toward a thin and fatiguing sound with certain setups. In contrast, the Denon was more balanced and versatile, pleasing in any combination. The Volumio Primo, to my surprise, generally outperformed in sound quality, especially compared to the Eversolo.

What I Was Listening To

The Volumio Primo paired very well with the Pier Audio, delivering an exciting, balanced, and neutral sound. I wouldn’t describe it as “warm,” but neither did it feel “cold.” My perception was of a realistic sound. During listening sessions, I often forgot I was hearing a digital source, which, in my opinion, is the highest compliment one can give to a digital device.

The playback was clear, with a good level of detail, crystalline and transparent sound, and good extension in both the bass and treble. The bass, though slightly on the dry side, had reasonable impact and texture. The mids, on the other hand, were rich, with a much more natural timbre, especially compared to the Eversolo DMP-A6 Master Edition. The highs were bright and airy, without the usual digital “harshness” found in equipment at this price range.

The Volumio Primo, with a detailed presentation, followed the same line as the Eversolo DMP-A6 Master Edition but achieved a smoother and more engaging tone. The clarity in instrument reproduction was impressive. The tone of the piano in Maria Bethânia’s “Lágrima” and the definition and texture of the saxophone in “Whisper” by Morphine were excellent. The interaction with music is emotional, capturing subtle nuances in voices and instruments, as in “I Feel You” by Melanie de Biasio. The bass in “Psycho Killer” by Talking Heads, though drier than on the Fezz Equinox by LampizatOr, came close at times in control and dynamics, albeit with less midrange “body,” where Primo demonstrated excellent transparency. With bright highs and a light sound. In some recordings, the upper midrange (distorted guitars) can verge on tiring, as in Mike Oldfield’s “Tubular Bells,” though Primo never fully becomes harsh or fatiguing.

In summary, the Primo’s sound signature is neutral yet offers an immersive, natural, and realistic experience, with high performance without compromising immersion and sonic richness—a substantial increase in value is needed for a clear quality jump.

So, What’s the Verdict?

In terms of flexibility and growth potential, the Eversolo DMP-A6 Master Edition excelled in this group. Sonically, however, the Volumio Primo personally stood out compared to the Chinese streamer. As for the Denon DNP-2000NE, the choice would be more challenging, and I recommend a prior comparative listening. The Denon is very versatile, appealing to a wide audience, while the Volumio Primo has a more distinctive personality that may appeal more to certain types of music and tastes. Regarding the interface, Denon’s HEOS, despite recent improvements, still doesn’t match the level of its main competitors in this test. In this respect, Volumio proved somewhat unique. For those considering their first streamer, the Volumio Primo could be a rewarding choice, as an external DAC with a preferred sound signature can be added later. So, I ask, is it really necessary to go further?