{"id":37728,"date":"2024-05-27T20:40:05","date_gmt":"2024-05-27T18:40:05","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=37728"},"modified":"2024-08-18T12:16:39","modified_gmt":"2024-08-18T10:16:39","slug":"manunta-evo-phono-3-and-m2tech-nash","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/amplifier-reviews\/phono-preamp-reviews\/manunta-evo-phono-3-and-m2tech-nash\/","title":{"rendered":"Manunta EVO Phono 3 and M2Tech Nash"},"content":{"rendered":"

Review sample supplied by manunta-audio<\/a>
\nRetail prices:
\nManunta EVO Phono 3: \u20ac800
\nM2Tech Nash Rev.b: \u20ac1.799<\/h4>\n

My experience with Marco Manunta’s designs dates back to the M2Tech HiFace and HiFace EVO USB to S\/PDIF and AES\/EBU converters. In fact, it was my experience with these devices that triggered me to investigate the Manunta Evo DDC 3<\/a> converter. In turn, this little beauty performed so well that I made it a permanent member of my Genelec system. Meanwhile, my review of the Thorens TD-1600 turntable with the new TP-160 tonearm<\/a> made me consider potential phono-stage alternatives, which brought my attention back to Manunta Audio.<\/p>\n

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The Manunta product portfolio is small but effective, and the brand offers the richly-featured EVO Phono 3 MM\/MC phono stage at a very attractive price. Given that Manunta products are, at the core of their design, simplified, super-value versions of M2Tech products by the same designer, this also made me curious about the higher-end M2Tech Nash, which is part of the brand’s Rockstars series. While the EVO Phono 3 and Nash are quite different beasts, they share some design characteristics, and given that they are produced by the same company, one might regard the M2Tech Nash as a super-charged Manunta EVO Phono 3.<\/p>\n

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Manunta EVO Phono 3<\/h3>\n

The Manunta EVO Phono 3 is an MM\/MC Phono Preamplifier with passive RIAA and continuous adjustable MC input impedance (loading) via a potentiometer on the rear panel. This feature is quite unique as it provides any desirable setting between 10 Ohms and 1 KOhms rather than the usual selection of discrete steps that are often too low or too high. In addition to the loading feature, the preamp offers independent control of MM gain (40, 46, 52 dB) and MC gain (10, 15, 20, 25, 30 dB), and these settings are stored for each input individually, so long as the unit remains connected to power. This is especially useful since the unit also has independent RCA inputs for MM and MC, which means one can connect two turntables simultaneously. Somewhat annoyingly, the MM gain always resets to the lowest value when the power is removed, but with direct toggle button control from the front panel, it is easy to re-apply the desired value.<\/p>\n

Apart from this oddity, I found the EVO Phono 3 a pleasure to use, even if the grey font can be hard to read in certain lighting conditions. Its buttons and functions have clearly been chosen and implemented very thoughtfully.<\/p>\n

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The MM gain is sufficient to accommodate every MM and medium-to-high MC cartridge, including most moving iron and moving flux models, which work well when loaded with the pre-set loading of 47k Ohms. The MM and MC gain stages are combined for the MC input, which means a lot of freedom for the user to set the respective gain values precisely as needed. For instance, one can have the MM gain on maximum gain and set the MC gain as required. Alternatively, one can set the MM gain lower and the MC gain higher. In my tests (with the Thorens turntable and TAS 1500 cartridge), I obtained the best results with the MM gain at its maximum 52dB setting and adding further MC gain as needed (in my case 20dB to match the Lejonklou’s output. The MC gain can also be used as a tweak facility. A higher setting will lead to a more upfront and impactful sound, whereas a lower setting will lead to a friendlier and smoother sound. The Evo Phono 3 also allows setting the MM input capacitance to 0pF, 100pF, 220pF, or 320pF. In addition, there’s a switchable 16Hz subsonic filter that can prevent issues caused by badly warped records and can be independently set for MM and MC inputs.<\/p>\n

When stepping through the gain steps, the preamp outputs a considerable low-frequency thud that can cause large woofer movements. The switching like this (without mute circuitry) is undoubtedly implemented to obtain the best sound quality at its price level, and it should not cause any damage at normal volume levels. However, it can be a little uncomfortable. Hence, I recommend muting or lowering the volume when making these adjustments.<\/p>\n

The functionality does not stop there, though. In addition, the Evo Phono 3 comes with a fully loaded remote control that allows for setting various controls and controlling other M2Tech Rockstars series products. In terms of phono stage functionality, the remote control allows Power\/Standby, Display Dimming, and MM\/MC input selection.<\/p>\n

The preamp is supplied with a simple wall-wart switching power adapter. However, the performance can be further improved by using a dedicated low-noise power supply. For this purpose, Manunta provides the Evo Supply 3. Alternatively, the M2Tech Van Der Graaf MkII can also be used.<\/p>\n

\"\"<\/p>\n

M2Tech Nash Rev. b<\/h3>\n

Like the Manunta ECO Phono 3, the Nash Rev.b is an MM\/MC Phono Preamplifier with passive RIAA and continuous adjustable MC gain and MC input impedance (loading) via two rotary dials on the rear panel.<\/p>\n

Also like the Manunta model, the Nash features two separate phono inputs: one for low-level MC phono cartridges and one for medium to high-level MC phono cartridges and MM phono cartridges.<\/p>\n

MC gain can be selected 3dB to 30dB using the potentiometer on the back, which is then added to the MM gain. The MM gain can be set to 55, 60, or 65dB via the settings menu using the rotary multi-function dial on the front panel. For MC, this means a total gain between 58dB and 95dB, which should accommodate every cartridge in existence. The other MM interface parameters (input impedance and capacitance load) are set by dip-switches, accessible from the rear panel.<\/span><\/p>\n

It should be noted that the menu item “MC gain” is actually referring to the MM gain, in this case added to the MC gain, with the chosen value stored separately from the value chosen for the MM input. So, even if the MM gain stage is the same for MM and MC, the unit remembers the individual settings.<\/p>\n

The individual inputs allow connecting two turntables simultaneously: one fitted with an MC or other low-output cartridge, another fitted with MM or other high-output cartridge. Optionally, a second low-level cartridge can be connected to the MM input by means of an external step-up transformer or MC stage. Alternatively, provided that a reduced output level is acceptable and a high load resistance is not problematic for the frequency response, an MC cartridge can be directly connected to the MM input.<\/p>\n

Most MM cartridges need a load resistance of 47 kOhms, which is the standard input resistance of most MM phono preamplifiers. On the other hand, many medium and high-output MC cartridges work better with a lower value, around 15 kOhms. The NASH offers both values, which can be selected by the rear panel DIP switches.<\/p>\n

MM cartridges are sensitive to the capacitive load, and according to M2Tech, many of them work better when the phono preamplifier\u2019s input impedance is slightly capacitive. With the Nash, the user can add capacitance using the rear panel DIP switches. Capacitance base values are 100pF, 220pF, and 470pF, and by setting more than one value, the user can also set 320pF, 570pF, 690pF, and 790pF.<\/p>\n

The individual stages and the continuously variable MC gain allow the user even more freedom than with the EVO Phono 3 to use as a tweak facility. As with the EVO Phono 3, a higher setting of the MM gain leads to a bolder, bassier, more fullbodied and impactful sound, whereas a lower setting will lead to a friendlier, airier, and more delicate sound.<\/p>\n

The first obvious deviation from the Manunta EVO Phono 3 is that the Nash also offers two line-level auxiliary inputs, which can turn it into a hub or switching box for analog sources. This facility can be very helpful when the phono stage is used with the Young MkIV or other equipment equipped with only a single analog input.<\/p>\n

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The totally discrete component circuit with J-FET input is characterized by very low background noise and high gain, allowing it to reach an output voltage of 2.5 Vrms with 5mV on MM and 170uV on MC. Passive RIAA is implemented with high-precision polypropylene capacitors.<\/p>\n

The Nash can deliver up to 95dB total gain on the MC input and up to 65dB on the MM input. Alas, a universal rule is that more gain normally means more noise. Therefore, designers usually apply the minimum gain to obtain a reasonable output voltage for a phono stage, which ranges between 500mV and 1V. This is enough to allow the line preamplifier to drive the power amp into clipping even with low-level recordings. However, this causes a level change between the phono input and a line input to which a CD player or similar is connected, forcing the user always to adjust the volume when changing the source. To avoid this, the M2Tech designers have conceived a very low-noise, discrete-component circuit that uses multiple low-noise FETs in its input stage to obtain an incredibly silent amplifier with high gain. The same base circuit was used in the MC preamplifier, in the first MM amplifier (before the passive RIAA equalizer), and the second MM amplifier, with slight changes to adapt it to the specific functions. Low-noise regulators were used throughout to ensure the best noise performance, with the MC preamplifier powered by a proprietary ultra-low noise dual regulator built using discrete components. Thanks to these low-noise amplifiers, the Nash can deliver at least 2.5V at its output with every cartridge model, with great noise performance.<\/p>\n

The Nash Rev.b can be controlled using the front panel rotary encoder and the included infrared remote control. The remote control allows Power\/Standby, Display Dimming, Menu navigation, and MM\/MC input selection. Another bonus over the Manunta EVO Phono 3 is the Nash’s integrated Bluetooth BLE interface that also allows the preamp to be configured and controlled via Android. M2Tech offers an Android app to control these parameters, and an iOS app is planned for later release.<\/p>\n

I found the Nash a little confusing to operate from the front panel. Especially the single button on the left, which I have often pressed too long, thinking it would activate the menu but instead shutting the unit down. After that, it needs another 20 seconds to warm up. But with prolonged use, I’m sure one gets the hang of it.<\/p>\n

A switchable 16Hz subsonic filter cuts low frequencies below 16Hz and is useful with warped records. Also, the 16Hz filter complies with the new IEC curve used in modern records, which adds a 16Hz high-pass to the standard RIAA curve.<\/p>\n

The Nash is supplied with a simple wall-wart switching power adapter, the same make and model as the Manunta EVO Phono 3 and the performance can be further improved by using a dedicated low-noise power supply instead. For this purpose, M2Tech provides the Van Der Graaf MkII.<\/p>\n

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Similarities in design but still very different<\/h3>\n

So far, we’ve covered functionality, operability, and connectivity. What about the circuit design? The two phono stages share a similar basic design developed by Marco Manunta, but how they differ precisely is unclear. However, as seen below, the PCBs are built entirely differently. Not only are the PCBs’ size and layout different, but key components are also different.<\/p>\n

\"\"<\/p>\n

Above: Manunta EVO Phono 3, Below: M2Tech Nash.<\/p>\n

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Next: Power Supply Alternatives, System Context, Running In<\/p>\n

<\/p>\n

Power Supply Alternatives<\/h3>\n

Both phono stages can be further improved using a dedicated low-noise power supply instead of the supplied wall-wart switching adapter. For this purpose, Manunta has the Evo Supply 3 and M2Tech the Van Der Graaf MkII. At the time of my review, neither power supply was available, so I purchased a Topping P50, a simple but good linear power supply with corresponding specifications (5.5\/2.1mm barrel jack with positive on tip). I should add that the Manunta\/M2Tech manual contains a warning: “Should the user opt for the use of a power supply not provided by Manunta by M2Tech or M2Tech, we reserve the right to void the Evo Phono 3 warranty”\u2014something to keep in mind.<\/p>\n

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System Context<\/h3>\n

The two phono stages will be listened to in my main system<\/a>, which revolves around a CH Precision L1 preamp<\/a> and A1.5 power amp<\/a> with Magico S1 MkII speakers. My intention was to use two turntables and a range of cartridges: the Thorens TD1601 with TP92 arm and TAS1500 MicroRidge MC cartridge and the Thorens TD1601 with TP160 arm and TAS1600 Fine Line MC cartridge, as well as an MM cartridge. Alas, logistics got in the way, and the Thorens TD1600\/TP160 review sample was picked up again before the Manunta and M2Tech phono stages arrived. My next plan was to get another sample, but due to circumstances, this was delayed. To avoid further delaying this review, I will publish in two stages and add additional experiences later.<\/p>\n

MC remains my system of choice, but I should note that MM has come a long way. For instance, I’ve heard MM cartridges that are as highly resolving and refined as the best MC cartridges I owned. Moreover, MM cartridges tend to have stronger bass and can appear more dynamic, even if these traits usually come at the expense of a measure of air, delicacy, or charm. In a later update, I will investigate this further.<\/p>\n

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The Manunta and M2Tech phono stages will be compared to the Lejonklou Entity and Schiit Mani. All interlink connections between the phono stages and the CH preamp are made using Driade Flow Link Reference 808 cables. The speaker cables used are the Jorma Unity<\/a>.<\/p>\n

Running In<\/h3>\n

I allowed more than two weeks of power-sipping for both phono stages before starting my serious listening tests. Both units sounded remarkably robust and detailed right from the start, albeit a little cold and stiff, becoming airier, lusher, and more fluid after being switched on for two weeks. After this, the Manunta EVO Phono 3 mostly stabilized, but the M2Tech Nash continued improving after four weeks. Upon first listening, the Nash was mightily impressive in the bass and its overall powerful stance but sounded dark and very controlled. It took over four weeks for it to loosen up and become airier and more fluid. In this respect, the M2Tech Nash deviates significantly from the Manunta EVO Phono 3, so that is something to keep in mind when making comparisons.<\/p>\n

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Settings<\/h3>\n

For both phono stages, the MM and MC gain stages are combined for the MC input, which means the user can freely combine two independent gain levels to arrive at an “ideal” balance for a given situation. Because the Lejonklou Entity offers only two lower loading settings and no other adjustments, I aimed to set the Manunta and M2Tech phono stages such that they provided the same output level.<\/p>\n

With my given turntable, arm, and cartridge, I obtained the best results for the Manunta EVO Phono 3 with MM gain at its maximum 52dB setting and MC gain set to 20dB to achieve a combined 72dB of gain, which is very close to the Lejonklou’s fixed 71dB of gain. With my Thorens TAS 1500 and TAS 1600 MC phono cartridges (0.4 mV), this is on the high side, but the CH Precision L1 preamp has more than enough headroom to facilitate this. Nevertheless, with some records, I achieved a sweeter, more relaxed, and arguably more musical balance using 15dB of MC gain. For the Nash, I used the lowest MM gain setting, 55dB, and adjusted the MC gain via the potentiometer on the rear to obtain the same level as the Manunta EVO Phono 3.<\/p>\n

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Listening – Manunta EVO Phono 3<\/h3>\n

The Manunta EVO Phono 3 impresses with its energetic, propulsive, crystal-clear, lively, and impressively dynamic presentation. Even with its standard wall-wart switching power supply, it offers a tighter, cleaner, more open, and more expressive delivery than the Lejonklou Entity, something I did not expect, given the large price discrepancy.<\/p>\n

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Some (cough-many) of the affordable phono stages I heard have what I perceive as a synthetic tonality. To my delight, the EVO Phono 3 sounds beautifully pure, neutral, and natural, if a little thin and bright with the standard power supply, but I will get to this. The little gem can play subtly and delicately or all-out, and it can change between these extremes in a heartbeat. It is great with rhythm and consistently makes my foot tap. It’s got an articulate, upbeat, and well-paced presentation, which, combined with an open and communicative midrange and precise and airy treble, makes for an enormously engaging listen.<\/p>\n

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Throwing the Schiit Mani into the mix, I expected it to sound pretty decent. After all, given its entry-level price, the Mani also surprised me when I first heard it many years ago. However, after listening to the EVO Phono 3, the Mani sounded quite disappointing. Sure, it has a decent amount of delicacy and air, and it is quite linear and transparent, but it sounds comparatively flat, fuzzy, and synthetic, and worse, it is dynamically restrained and frankly dull compared to the expressive and exciting Manunta.<\/p>\n

Moreover, I did not expect this to happen, but in some aspects, I even preferred the Manunta over the twice-as-costly Lejonklou. Its dynamic attack, bass precision, and overall crispness first pulled me over the line, while the incredibly communicative midrange reeled me further in. It is amazing what this little gem achieves at such a low cost.<\/p>\n

Sure, with the supplied power adapter, the EVO Phono 3 is a little lean and bright, a little spicy, and even on the edge of being edgy, but it never crosses that edge into sharpness, although it does highlight when recordings are also on the hot side. Although neutral and quite linear, it is a little low on tonal saturation. Don’t misunderstand this to mean the EVO Phono 3 sounds analytical or even clinical, as I find the preamp to sound very human and super-lyrical, but it will not be the ideal phono preamp for those searching for tube-like qualities such as lushness, saturation, or warmth.<\/p>\n

\"\"<\/p>\n

Still, listening to the Lejonklou Entity after the EVO Phono 3 briefly made me doubt its merits. But fair is fair; the Lejonklou has a lusher and dreamier presentation with fuller bass, deeper tonal saturation, and more finesse, even if it trades in quite a bit of bite, speed, and expression. On balance, what the Lejonklou offers are qualities typically not found until a certain price point, and these qualities can weigh heavier than excitement and dynamics, depending on the system and individual preferences. Personally, I found it hard to choose between the two at this point, both preamps making strong cases for themselves in very different manners.<\/p>\n

There’s still the matter of power supply, and I can already reveal that this makes a large difference. But before I report on this, I want to continue my comparisons of the EVO Phono 3 and Nash, both in stock form.<\/p>\n

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Listening – M2Tech Nash<\/h3>\n

Going from the Schiit Mani to the Manunta EVO Phono 3 was a revelation. But fair warning: if the budget does not stretch further, better not listen to the Nash!<\/p>\n

I started out using the Nash with the minimum MM gain setting of 55 dB via the front panel and then adjusting the rear-panel pot to match the sound level of the EVO Phono 3. This way, it already sounded great, but I found it sounded even better when I used a higher MM gain setting. Depending on system synergy, there’s bound to be another optimum, but I found that the sound was most toe-tapping and enthusiastic when using the highest MM gain setting of 65dB, and a low MC gain of 7,5dB.<\/p>\n

Upon swapping, it is clear that the Nash shares DNA with the EVO Phono 3. Just like the EVO Phono 3, the Nash has an immediately enthusiastic, toe-tapping, and engaging performance, and it is just as pure and neutral through the midrange. But then, the differences start to stand out. The biggest difference is the Nash’s amazingly concrete and rock-solid bass. Even with the standard wall-wart switching power adapter, the Nash may have the best bass I have heard from any phono stage at any price! It is not just rock-solid but also fast and nimble, not at all fat or thick, and super-articulate.<\/p>\n

\"\"<\/p>\n

The EVO Phono 3’s timbre was already non-synthetic but could do with more color and substance, and this is where the Nash delivers in full. In comparison, the EVO Phono 3 does a good job with timbre and texture, but it’s only when stepping up to the Nash that these are rendered in full. With its more robust and impactful nature, more accurate pin-point soundstaging, and more air between performers, the Nash provides an even more convincing and realistic performance.<\/p>\n

In many ways, the Nash reminds me of the Pass Labs XP17<\/a>. I would have liked to have it available for comparison, but the local distributor did not have it in stock. I can’t make any hard claims because so many years have passed since I heard it. All I can say is that my gut feeling is that they are competitive, and given the large discrepancy in price, that is an interesting observation.<\/p>\n

You could say the M2Tech Nash has a more controlled stance than the Manunta EVO Phono 3. It offers a more precise rendition with a higher level of articulation and control, making it more analytical. The EVO Phono 3 always sounds effortlessly fluid, but the Nash can be relatively drier and more matter-of-fact. This is just a fact of life: with higher precision comes more control. It is more steadfast but also very dynamic and hugely impactful!<\/p>\n

At this point, one may start to consider synergy. For instance, I imagine that the Manunta EVO Phono 3 simple design has fewer stages of regulation and a less precise amplification topology, which happens to make it work very well with my (inherently very precise and relatively dry) Thorens TAS 1500 Micro-Ridge cartridge. This made me wonder how the cards would fall when the TAS 1600 Fine Line cartridge was mounted in the TP 160 knife-edge tonearm. For now, that question will have to remain unanswered. But as soon as I have secured another turntable, I will revisit this topic.<\/p>\n

Next: Linear Power Supply and Conclusion<\/p>\n

<\/p>\n

Linear Power Supply<\/h3>\n

So far, I’ve discussed the two phono preamps using their supplied wall-wart power adapters. While sufficient for the job, they are, of course, not designed for audio purposes. Even so, the M2Tech Nash performed significantly better with the supplied simple wall-wart power adapter than the Manunta EVO Phono 3.<\/p>\n

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As the Manunta Evo Supply 3 and M2Tech the Van Der Graaf MkII power supplies were unavailable at the time of this review, I was advised to try another aftermarket power supply that outputs 15 Volts using a 5.5\/2.1mm barrel jack with positive on tip. So, I purchased a Topping P50, a simple but nice-looking linear power supply with corresponding specifications.<\/p>\n

\"\"<\/p>\n

Starting with the Manunta EVO Phono 3, the difference was profound! Now, the phono stage sounded much more robust and full-bodied, with much deeper tonal saturation, wider and deeper soundstaging, topped off, literally, with cleaner and more refined treble. Meanwhile, the linear supply introduced absolutely zero downsides. The sound was still articulate, fast, upbeat, rhythmic, expressive, dynamic, and even more lyrical than before. Gone was the lean and analytical quality, replaced with a sound that, in terms of substance and saturation was now closer to that of the M2Tech Nash when using its supplied Wall-Wart power adapter. When the two preamps were used with the standard wall-wart switching adapters, the M2Tech was clearly better in multiple respects. However, the two move closer with the external linear Topping power supply, although the Manunta stays behind in impact, control, and precision. Holy moly, if a simple 109-euro power supply can already have such a positive influence, imagine what the Manunta and M2Tech power supplies can do.<\/p>\n

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So, what would happen if we used the Nash with the Topping power supply? Sure enough, the Nash also benefits from the better power supply but less so than the Manunta. Where the better PSU almost transforms the Manunta EVO Phono 3, it is more of a “dotting the i’s” for the M2Tech Nash. The latter retains all of its virtues and gains flow, delicacy, treble refinement, air, and, perhaps most importantly, a lusher, more organic nature.<\/p>\n

Interestingly, maybe because it is less precise, the Manunta retains a more free-flowing delivery that can work very well when combined with an inherently incisive and precise-sounding turntable\/cartridges combination such as the TAS1500 or Audio Technica AT OC9 XSL<\/a>. Sure enough, my judgment and technical mind are never in doubt as to which phono stage is best, but my heart could sometimes prefer the Manunta’s technically less precise yet emotionally seductive presentation. But it also depends on the record that is played. With ethereal and dreamy soul music such as Lonnie Liston Smith, the Manunta can be ever so soothing. But with electronic or beat-based music, the Nash is a force to behold, making it very hard to return to the EVO Phono 3. As such, the decision between the two is not just one of budget but, in part, also a matter of personal taste or system synergy.<\/p>\n

As mentioned, I will revisit these comparisons once I have secured another turntable. I suspect the outcome will be very interesting!<\/p>\n

Build Quality<\/h3>\n

The Manunta EVO Phono 3 offers great build quality, a beautiful milled front panel, and an overall really solid product at the price. The M2Tech offers a larger and heavier enclosure with a nice aesthetic and more functionality. Ergonomically, the Nash takes some getting used to, but its extra functionality is a nice bonus. Rotary encoders are usually a little wobbly; this is normal, but with my sample, the rotary dial on the front scrapes against the bottom of the hole in the thin black plastic insert. While it functions just fine, understandably, the feel is not very smooth, and this takes away a little from an otherwise great visual design.<\/p>\n

Conclusion<\/h2>\n

The Manunta EVO Phono 3 offers great value and performs well, even with its supplied wall-wart power adapter. But when powered with an external linear power supply, it becomes an absolute steal! Then, it attains a portion of its bigger cousin’s body and saturation while retaining its upbeat, enthusiastic, and hugely expressive manners. If it weren’t for the M2Tech Nash, I would have looked no further. But even so, the EVO Phono 3 is the best phono stage I have heard, right up to the Nash’s price point, 1.799 euros.<\/p>\n

The M2Tech Nash performs superbly even with the supplied wall-wart power adapter and improves even further when using the external linear power supply. At its price point of 1800 euros, it is the best phono stage I have heard, short of the CH P1<\/a> and maybe the Pass Labs XP-17. Based on my experience, you must at least spend double the Nash’s retail price to improve sound quality significantly.<\/p>\n

The Manunta EVO Phono 3 offers particularly high value for money, but both phono stages are highly recommended.<\/p>\n

Update 01-08-2024<\/h3>\n

After the new Thorens turntable arrived, I performed additional tests using two different cartridges. To my surprise, the results led me to update my initial conclusion, with the Nash emerging as an even greater victor. Following the stellar results, I decided to keep them both as my personal favorites and to serve as references in their respective price categories.<\/p>\n

Read all about it in part 2!<\/p>\n

Manunta EVO Phono 3 and M2Tech Nash – Round 2<\/a><\/p>\n

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Associated Equipment<\/a><\/p>\n

External Links<\/h3>\n

manunta-audio<\/a>
\nM2Tech<\/a><\/p>\n

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