Just retired and want to get back to vinyl listening

As for a solid base I have used a 4-foot piece of cement sewer pipe stood on end as a base, painted it white which has no aual effect but considerable visual.

It will hold your turntable stable in space and time.

Barry Thornton

inna - thanks  - I appreciate what you and others say -- so it all helps with learning and final choices

the AN - OTO is indeed a nice SET amp -- would go well with AN speakers as you note -- it would need well chosen speakers to go with it's 10 watts -- it too has a great phone stage

again -- all thanks for input and discuss -- it is moving van day and it is raining for the first day in weeks here in northern VA

Steven, I might have an expensive taste but I don't have a lot of funds and do my best not to waist them. But sometimes you just have to pay the price or not buy right now and wait.
Here is Audio Note integrated with phono. I know nothing about it but perhaps somebody does. If you choose Audio Note speakers and want to try tubes this may be one of the possibilities.
https://www.audiogon.com/listings/tube-signature-2017-09-21-integrateds

@steventoney

Was hoping myself for some others to comment on the Super Nine vs. the Gibbon X.

anyone hear the devore gibbon super nine that debuts at the RMAF this week per tjeir website?? if so thoughts...............compared to gibbon x - the O/93 - O96

For your cabling, you might want to take a look at DH Labs.

I know what MDF is, I've used miles of it. The material itself doesn't vary to any great degree. Like everything, it has it's pros and cons. If the supports are adequately designed, it's fine. Presumably with a high quality rack, this should be the case. With many items, it's just the opposite.
L.

inna

thanks for the input -- I'll keep learning -- you have very expensive taste.... I may get there over time in some upgrade -- but want a moderate start for new first steps back in this world..  partly why I'm leaning to a integrate with a ok phone stage to start -- and learn - audition separate stages later -- if I wish to try other cartridge -- tonearms TT beyond the clearaudio I starting with

I have been looking at power cable - interconnects - speaker wire for a "balanced" start in that area for some "good" - 'ok" cable -- again this is an areas -- I can upgrade and try new things over time to see if I can tell a difference from A and B choices

the power conditioner piece is another learning area -- I have started reading about

thanks all for input -- moving van comes tomorrow -- I should be on the road to Spokane by Thursday

there are cheap MDF and not so cheap MDF or engineered products - some of latter are far from cardboard... but a great deal of stands sold are pretty cheap card board like products

The salamander shelves are quite strong -- the triple wide - single high I use for main HT has 110lbs of plasma TV on top now - previous TV was another plasma that was 150lbs -- one of the 5 shelves I use in the setup carries a 60lbs plus 2200 VA sinewave UPS

but I’ll be doing a much stronger Mapleshade stand for the TT - AMP setup for the new project -- It is like the salamander archetype style only much more robust and they have a nice isolation platform I can use on top for the TT

Depends on the configuration, I guess. I don't generally use the words "good" and "MDF" in the same sentence. It's basically glorified cardboard, although I'm sure it has uses.

I have a 50 lb. integrated on a Salamander shelf for over ten years. No problems here.

I have a salamander synergy setup for my HT setup.. I’m looking at mapleshade for a stand and vibration platform on top for this project

By the way, 62 pounds is not a problem for good MDF. Salamander is rated at 125 pounds per shelf, I think.

Also, to a degree the regenerator will work as a motor controller for your turntable motor.

I think, all the equipment that you consider will give you a good sound. Whether you go with tubes or solid state is a dilemma, hard to decide when you can't compare side by side. If you need a stand alone phono stage, as a general recommendation I suggest tube phono with both tube and solid state integrated. Should be electrically and musically matched, of course. You don't want to save $1k on a phono stage, believe me, or your vinyl endeavour will fail. Phono stage is very very important. Though not familiar with it, it gets an excellent rating here among some members - Allnic 1201, the least expensive Allnic. You can get it from Albert Porter, a member and dealer, for about $2.7 new. Since you like Audio Note/DeVore sound this should be an excellent choice. There is also Manley Chinook for $2.4k new. It is different.
Another point. Good sound doesn't start with the equipment, it starts with the wall current. When you rent an appartment you will see that the current is very dirty and possibly the voltage is very unstable. I live in an apartment too, and without my PS Audio Power Plant Premier regenerator the system is unlistenable most of the time. There are now P5 and P10 regenerators that you might want to consider. The retail price is relatively high but you can get them for less.

glad to help, plus, I learned something myself.

One thing that hasn't come up - this thing is heavy. It's 62#. A rack with an MDF shelf isn't going to cut it. Hell, the shipping box weighs more than some amps, it's 3 layers of very heavy cardboard, and is 20# alone.......

L.

build.... thanks for the links..

I plan to keep busy -- this project is just one of things I willspend time at.. I’ll not be doing music lessons - but I got a laugh from that ;-)

please don’t spoil my fun -- LOL

Here's my advice.....if you already have a system that plays CD's do that.  All the music you want to listen to is on CD.  Hire a teacher and take violin, flute, sax etc. lessons. When you know how music works, you'll appreciate those CD's even more.  When I was doing my advanced degrees in music, I was shocked that so many of my  profs. had low  quality (in audiophile terms) little systems. Go to live concerts,  Keep busy in your retirement.

steventoney, I can't tell you what changes were made between the AX and the AXII.   I have read that the L-590AX incorporates a larger power supply over the earlier model, which was maybe the L-590AII.
I've never seen an L-590axII for sale on the secondary market, I think they're only about a year old.
My amp is identical to the one that's currently listed here on Audiogon for $5200. Even though they show the paperwork showing that it was purchased very recently, the newer version was also available at that time. The few places that show them for sale often have both, with no discount for the earlier model.

Well, after I rambled a bit, I looked around and found this link from 'A Higher Note', which used to be the US distributor. The differences in the newest version are noted in the description.
https://onahighernote.com/shop/integrated-amps/luxman-l-590ax-pure-class-a-ii-integrated-amp/

Here's the page from the same website describing the earlier L-590ax.
https://onahighernote.com/shop/integrated-amps/l-590ax-2/

There you have it. Take care,
L.

builder3 - others

Are there any real differences -- improvements or problems of the newer 590AXII versus the older 590AX? what did they change that makes the new one most or less desirable?

Another question -- if I decide to try a tube amp -- say a Leben CS600 or a Line Magnetic 518A or other with a model of devore speakers -- BTW they are showing a new speaker this week - Gibbon Super Nine -- what are some suggestions for a phono stage between 500-1500 dollars -- if I end with a I-AMP without a phono stage

I’m still leaning to the Luxman -- but before buying -- I’m still learning and will try to get to some other places to listen directly and hear..


thanks

Yes, an L-590AX, which is the version prior to the newest model. My speakers are the Paradigm S6’s, which are now discontinued.
One thing that I think I mentioned earlier, the 590 isn’t low-powered. Luxman’s literature is misleading, the amp is rated at 30W/channel into 8 ohms, but it actually switches from Class A at that point, and puts out around 90W/channel. Power isn’t really a concern.
If you get to Portland, one shop worth stopping at is Echo Audio. Nice gear and great people.
L.

builder3 -- thanks

I may do that once I get a place and settle a bit  - combine with trip west to visit some shops and listem more.  This is about your Luxman 590AX?

what speakers do you use with it? 

I'm still not opposed to used - keeping eye on the website, but I do need to move and get a place first..

steventoney, you're welcome to come hear mine. Still a long drive, I'm another 1½ hours past Portland. Nothing fancy, and not an ideal room, but would probably still give you an idea.
L.

I think the Leben CS600 is a worthy piece -- but that gets me into a separate phone stage in my starting setup -- still not sure I'm quite ready to go there...  I know the "looks" are not the "sound', but I the retro look matters a bit to me for my starting project.. Already I may end with a mapleshade stand "industrial" looking to sit the TT and amp etc upon..

so far the acutal listening is been with "tubes" -- I going now to listen some more -- and they will swap in some SS amps

I just cannot really find a place yet to actually "hear" a luxman or leben even when I move -- I find nothing drivable within a day...

although it would be a secondary project --  I may well get a set of the smaller Harbeths or Audio Notes to listen to in the bed room setup -- maybe run from the same integrated amp in some way -- "b" speakers or via the pre out to a small amp with speaker -- again it would be a potential secondary project after the primary is done depending on what I-AMP I end up with...

Fson... in your paradigms - where are the Luxman - Accuphase SS class A types fit -- These are SS but do not seems all that "powerful" relative to most of the other SS offerings

That's a great question. When I brought up the concept of "tried and true paradigms" I am aware that I am opening myself up to criticism for making broad brush generalizations bordering on stereotypes. That was not my intent. So as to Luxman and Accuphase, both are actually "high power" compared to many Japanese high end set-ups, which tend to be vinyl front ends, SET tubed (8 watts or so) gear and AN style corner loaded speakers.Corner loaded speakers maximize room space and assist with managing bass response in thin-walled construction homes. Obviously there is a dichotomy between something like Shindo with absolute simplicity of circuit design using selected NOS caps and resistors and something from Luxman or Accuphase which offer a ton of switches and selectors much like the receivers of the 70's. Luxman tubed gear is drool-worthy both from the standpoint of construction/tactile feel and sound. More affordable than Shindo and probably Luxman and just as lofty is Leben http://lebenhifi.com/aboutus.html. By and large, Japanese and British gear is designed with the typical small listening room in mind, but the paradigms are different with the Brits tending moderate power solid state integrateds (Sugden, Croft) and standmounts derived or evolved from the BBC LS3/5A.

so far $3200 for TT - arm - cartridge....

Thanks all for the discussion...

I think I’m going down a reasonable path and balance for a restart in this hobby to enjoy some music.. I do not think I’ll get to the stage of say the "cartridge" discussion level of expertise details.. some of the discussions go further than my current needs, but are helpful in seeing what other say. I expect I will stay with an integrated amp for a long time - just not sure I will get to complete separates.

I’ve gone to 2 places here in VA just prior to the move.. felt comfortable enough to buy the starting new TT - arm - cartridge clearaudio setup -- I plan to go to some other place in the Northwest after I get moved and settled as I work to may final choices on other parts of the setup.. the thread illustrates what I’ve auditioned. I pick up the TT setup today, but for some hours in the shop it will be setup for some extend listening with Devore speakers and a few different integrated amps in my last audition prior to hitting the road for spokane next week.. I have the time to do some more auditioning, but it will require many hours of travel from where I will be living

Fson... in your paradigms - where are the Luxman - Accuphase SS class A types fit -- These are SS but do not seems all that "powerful" relative to most of the other SS offerings

again thanks all for the info and advice

$10k electronics/$500 speakers is definitely better than the other way around. I think, if everything was bought new today I have a $15k/$3k situation including all cables and cords. Not as extreme and not stand mount speakers.
Some people do give good advice, it is not all or nothing.

Well, I happen to think this thread has an incredible amount of bad information. One poster says "Tekton DI's are all the rage these days and many people are selling their far more expensive speakers for them", and suggests they merit strong consideration. For F’s sake, whatever the hell you do, avoid the flavor of the month on forums like this one. There’s always an easy way and the right way. The right way here is to audition gear on your own after studying the various tried and true, ENDURING means of achieving good sound. There are only a set amount of tried and true paradigms; high power solid state with inefficient full range speakers, moderate British style solid state with stand mount monitors, SET and low power tube amps with horns or highly efficient easy to drive speakers, high power solid state with planars, etc. One poster just wrote;

Electronics is another thing, there should be no difference.

Nothing could be further from the truth. An indisputable truism; everything matters and electronics sound markedly different. Nothing will kill a system more effectively than mediocre electronics. You are better off with 10K worth of electronics and a $500 pair of well designed stand mounts than a pair of expensive speakers and cheap mediocre electronics.
I feel like sysyphus rolling the rock uphill sometimes and surely sound like the parody of a prophet in Monty Python’s "Life of Brian". You are retired and you presumably worked hard to get to the place you are at. Time is important but shortcuts will kill all enthusiasm. Travel to three retailers with diverse lines and listen to what each have to say and play for you and formulate real-world opinions first hand. You came to the wrong place for good advice. Discount mine as well as need be.

Just tagging in. there is too much good input here to pass this thread up.

The Luxman looks nice. I have the (now discontinued) Luxman phono stage that I love. I don't know the pin designation on the Luxman balanced connections but they may be different than the US standard that atmasphere mentions above. If you are still thinking Klipsch, check out the new Forte III's but as others said the room is important, if the room is too "boomy" these may be a little much. For turntable the Amadeus is worth checking out-great sound on mine but not at all retro in appearance. 

Well, my speakers are much better with smaller scale acoustic music, including vocal, than with anything else. Not bad for jazzrock, though, and electric guitar anywhere. Not good with large scale music. Does it mean that the speakers are bad ? It's a matter of perspective, I don't think so. I assume that only extremes, either junk or reference level, speakers perform more or less equaly with any kind of music. Think JM Labs Focal Grand Utopia, top of the line or close to it Kharma, Tidal, MBL etc. So, ideally yes, in reality no or not quite. Electronics is another thing, there should be no difference. And cartridges - I don't know, I didn't notice much difference when excluding the speakers and listening thru the headphones, still slightly better with acoustic music, but so are my headphones !

Update!!!
     
There has just been a pair of VMPS RM30 ribbon speakers put on VMPS website of Audio Circle for $1000 used and in good shape a few minutes ago.  The guy's wife didn't like them so much as he did.  This pair retailed for over $5000 new.  You want clarity, beautiful voices, dynamic, great soundstage, tight bass--all with adjustability to rooms and systems, here it is.  I've owned a pair and have the big brother VMPS RM40 BCSE edition.  The RM30's will sound great in any room.  At their new price they would be a bargain, at this price--unbelievable.  Read the reviews online.  Heck, if you didn't like them you could sell them at a profit out west.

Modwright KWI-200 integrated amp.  Can also get a phono section in the amp at extra cost.  Modwright stuff sounds very good and the 200 watts per channel will drive most any speaker.  You're out west so if you have no major reservations about buying used, your money can go MUCH farther.  You can generally get equipment for 50% of the list cost, sometimes much better than that.  Used, you can get this IA with phono for under $3500, maybe better.

If you have any woodworking skills at all, buying a used Lenco 70, 75 or 78 TT and doing much of what the Home Depot thread on Audio Circle tells you to do, can yield an awesome sounding table.  I have ZERO mechanical or electrical knowledge and I did it and the idler driven platter is dead accurate on all speeds and sounds frightened dynamic and real.  I second the use of a Trans-Fi Terminator straight line tracking air bearing tonearm.  I did the combo and after many parts upgrades it cost me about $2500 for the pair.  A Shelter 501 Mk II or III MC will get much of the higher priced sound right.  An Allnic H-1200 phono section is the most dynamic phono preamp at a still reasonable cost.  If you were to get the last pair used, it would cost about $1300-1400 so for $3800 and some work by you, you'd have a very good analog section that could compete with $10,000 set-ups and not be embarrassed.

Speakers are a matter of preference, however, the Tekton Double Impact speakers are all the rage on Audiogon Forums.   Many have sold their very expensive speakers and bought the DI's and love them--very dynamic and live sounding.  Base price is $3000 new, although Tekton does offer a couple upgraded parts DI's at $3600 and $6000.

Cables can effect the sound in very positive or so-so ways.  When I jumped to Darwin Silver ICs, it was a big jump up in performance over Morrow or many others in the good for the money group.  Also, the Amadi Maddie Signature ICs are very good and the equal of the better Darwin cables.  The AMS's are also silver wired.  Neither Darwin or Amadi ICs are bright sounding but very detailed and transparent with excellent bass.  I have several pairs of either available at used prices.  It took ICs that were more expensive to make a big difference and it was super synergy in my system that cause me to go for that change after hearing them.  There was nothing out there at the used price of the Darwins or Amadis that is their equal--$140-$250.

Amadi also makes very good power cables along with Cerious Technologies.  Speaker cables like Speltz Anticables are awesome at their price--under $85 for an 8 ft. pair new.  Very clear and detailed again with no brightness.  It took a pair of Cerious Technologies Graphene Extreme cables to take them out of my system for good. The CTGE cables are $640 for 8 ft. pair.   Amadi also makes an excellent speaker cable at about $600-700 an 8 ft. pair.
   

Suggestions for cartridge choices are welcome. Considering .....

Cartridge manufacturers really don't want to admit this, but the ability of the tonearm to properly track the cartridge is far more important than what cartridge! The Triplanar is one of the most adjustable arms made (even can adjust effective mass a bit) so as a result it can track a pretty wide range of cartridges.

IOW you will do well with all the choices you have listed. Your taste in music has nothing to do with it; no cartridge made cares what sort of music you play (this is true of electronics and speakers too), nor does a particular cartridge favor a certain type of music.

So I look at it in terms of how well the cartridge holds up. I've had a Transfiguration Orpheus that has done quite well- its on its 6th year and is still relaxed and musical. I expect sooner or later the suspension will die and when that does it will have acquitted itself quite well.

Ralph-I just want to take this opportunity to thank you for being the resource that you are. You lend a tremendous amount of reliable information in simple layman's terms to this Board. 

Been pondering 12" Tri-planar terminated - cartridge to XLR straight through. Mounted on modified Technics 1200 G . 

Still pondering cartridge choices.

Kuzma 4pt can be ordered same way. Might be others. Maybe someone else can with knowledge can add to this thread.

Suggestions for cartridge choices are welcome. Considering .....
Koetsu Black Goldline
Transfigureation Proteus
Lyra Etna 
Van de Hul ?
Suggestions ?????????

Been Scantek guy since 88'
Have my first Dynavector XX 2 mkII 

60s, 70s, 80s R&R
Jazz for about 7yrs now
Select Classical for 3yrs
Then the quirky stuff that that only I like.
Then the 50s stuff that older brother and sister listened to.

curious as to why more TT/tonearms would not have balance outputs and equipment inputs for these in various equipment be the xlr balanced inputs

The idea of the cartridge being a balanced source was introduced to home audio in 1989 by Atma-Sphere (the MP-1 was the first balanced line preamp for home use). Before that it just wasn't around. To this day, I still occasionally run into tone arm manufacturers that don't realize that the cartridge (and thus the tone arm) is a balanced source. If we're talking about inexpensive gear that uses OPamps, its almost the same cost to run balanced as it is single-ended. But the industry relies heavily on tradition- meaning that it will try to do the same thing the same way decades on after its been shown that there is a better way. In that regard audio is like a host of other industries- and maybe that's just a human nature thing. 

I am instead asking you how RCA outputs from a typical modern table can be used in balanced form as you clearly stated.

This is sort of a cringe-worthy thing that you sometimes run across. The idea is that the RCA connection is not tied to ground- usually they 'float' and if tied to ground, are done so by a wire. But you could use the ground side as the minus output of the cartridge, and so- you could then have the input circuit be a differential amplifier and *if* the ground wire is tied to chassis it would work. Sort of- you do have this little problem that the '+' output of the cartridge is likely going to be shielded by the '-' output of the cartridge (by the single-ended tone arm cable), and this is where the cringe-worthy issue comes up- this leaves the system highly vulnerable to hum. Now if the cable was built balanced, and the shield was actually the ground wire, then the only area where the system is hum susceptible is the RCA connector itself.

I think this idea got going so that the preamp would be instantly compatible with any turntable interconnect, but in reality it isn't. On top of that, as soon as the minus output is acting as a shield for the plus output, the construction of the cable is going to have an effect on the sound, so you just lost an important aspect of balanced operation, which is cable artifact immunity. IOW it really should be done with an XLR.   

fsonicsmith

Yes, I have read, heard, and known for some time that phono cartridges with their four pins are true balanced. That is not the issue I am asking you to address. I am instead asking you how RCA outputs from a typical modern table can be used in balanced form as you clearly stated.

That depends on the balanced phono preamp’s inputs. If it uses RCA connectors - such as ARC - then all you need is a pair of RCA cables. (You may or may not choose to also use the separate shield.) If the inputs are on XLR connectors, then you’d obviously need to use XLR connectors on the phono preamp end and whatever else you need on the pickup arm arm end, be it DIN-to-XLR, or RCA-to-XLR. Or you can get a pickup arm breakout box that terminates in XLR connectors or whatever connector of your choosing.

Most phono cartridges are inherently balanced; they have separate left, right, grounds and shield. There are many fine, truly balanced phono stages, such as Audio Research, and a good argument can be made that the phono section is the most beneficial place in a system to use balanced operation. 

Yes, I have read, heard, and known for some time that phono cartridges with their four pins are true balanced. That is not the issue I am asking you to address. I am instead asking you how RCA outputs from a typical modern table can be used in balanced form as you clearly stated. 

fsonicsmith

OK, you will have to explain this one to me. Many turntable manufacturers offer DIN outputs but you are obviously saying that those that only offer RCA outputs (like VPI's for example) are actually balanced. IMHO, you won't find too many phono stages that offer balanced operation

Most phono cartridges are inherently balanced; they have separate left, right, grounds and shield. There are many fine, truly balanced phono stages, such as Audio Research, and a good argument can be made that the phono section is the most beneficial place in a system to use balanced operation.

interesting discussion,,,,,,,,,  I see some phono preamp-stage -- have "balance controls" that say this is for adjust issue of balance on the cartridge  -- I expect this is something different -- but the education continues  ;-)

They do have balanced outputs - don't let the RCA connectors fool you. And you can feed those balanced outputs into a balanced phono preamplifier - some of which also use RCA connectors on the input. 

OK, you will have to explain this one to me. Many turntable manufacturers offer DIN outputs but you are obviously saying that those that only offer RCA outputs (like VPI's for example) are actually balanced. IMHO, you won't find too many phono stages that offer balanced operation. Case in point is my Manley Steelhead. Right from Manley;

FAQ #1: The Steelhead is unbalanced. Why can't I have balanced outputs?

Yes the Steelhead is entirely a single-ended design. The circuitry uses single-ended topology. In order to be able to provide balanced outputs we would have to convert the signal to balanced using something like some IC's or transformers. Both these options would add more "stuff" to the signal and be certainly audible detracting from the pure sound the Steelhead provides. If you are driving a balanced preamp or balanced amplifier with the Steelhead, check to see if you also have unbalanced inputs, change your cables and go with that. You might be pleasantly surprised that they too added extra audible "stuff" in order to provide balanced inputs and the RCAs that don't have that extra "stuff" in the signal path actually sound better. (Depends on a given unit's specific design.) Or use some RCA to XLR adaptors. Most balanced gear has no problem being driven single ended but check with the manufacturer if they are going to want the negative pin 3 of the XLR grounded or floating. Transformer-coupled XLR jacks always can be driven single-ended by running HOT into Pin 2 and grounding pin 3 to pin 1. Some IC coupled XLR inputs will want pin 3 floating, others will require it to be grounded when running single-ended into it. Check with the manufacturer of your gear to see how to hook it up single-ended.

...

given the comment on cartridges -- curious as to why more TT/tonearms would not have balance outputs ...

They do have balanced outputs - don't let the RCA connectors fool you. And you can feed those balanced outputs into a balanced phono preamplifier - some of which also use RCA connectors on the input.

Thanks for the education -- info...... given the comment on cartridges -- curious as to why more TT/tonearms would not have balance outputs and equipment inputs for these in various equipment be the xlr balanced inputs

atmasphere,

Excellent commentary as usual. I have been long IC, short SC for years. I always used RCAs. Recently switched to XLRs - pre to amps. Now in the camp of;  "Simply no going back"

I do have a question -- if folks would be so kind -- about pro/cons on using the rca line inputs - outputs versus the balanced I/O on some of these equipment pieces -- I have no experience at all on the balance I/O - thoughts?

There are several things to understand about balanced. I'll try to not make it too confusing.

There is this thing that is the balanced line standard. It is spelled out in the Audio Engineering Society (AES) file 48.  If your equipment conforms to the standard, a fun thing happens- you can run longer interconnects and they don't have to be exotic (and exotically priced) to sound excellent.

Unfortunately many high end audio companies that offer true balanced equipment don't actually support that standard. The reason is that its hard (see points 2 and 3 below) and some companies don't seem to be aware that it exits.

As a result you'll see really variable comments ranging from mine- which usually read something like 'Once you've heard it set up right, there's simply no going back' to 'balanced is just a gimmick and offers no performance improvement at all'. The latter happens when the standards are ignored. So its important to check with the manufacturer to see if their equipment supports the standard.

In a nutshell, here's the standard:
1) pinout: pin 1 of the XLR is ground, pin 2 noninverting (in the US), pin 3 is inverting (in the US)
2) the output occurs between pins 2 and 3; pin 1 (ground) is ignored and is only used for shielding
3) the system is low impedance; a preamp supporting the standard should be easily able to drive 1000 ohms without frequency response or distortion problems.

FWIW, all cartridges made today are balanced sources. That is why turntables always have that funny 'ground wire' that no other 'single ended' sources seem to have. The ground wire is the shield. So if you have a turntable the signal can easily travel from the LP to the preamp input via a low impedance balanced line- and thus the signal will be more immune to the interconnect cable, making for greater transparency and lower noise to boot. Usually all that is required is to change out the interconnect cable.

An obvious advantage of balanced operation is that you can run long cables. 50 feet is no worries between preamp and amp so its possible to run monoblock amplifiers placed by the speakers and run really short speaker cables- which will ultimately help you with impact and definition. Once you've heard that greater definition, its hard to go back.

The most common myth about balanced line is that its more expensive and there are twice as many components. This is false. It does take more parts, but not twice as many- maybe about 50% more (unless the execution is poor). However your interconnect cables don't have to be as expensive. I think mine cost me about $150.00 for the pair and they are 30 feet long. In practice, the cheaper cables more than make up for the difference in price and quite often you can have greater performance to boot.

I do have a question -- if folks would be so kind -- about pro/cons on using the rca line inputs - outputs versus the balanced I/O on some of these equipment pieces -- I have no experience at all on the balance I/O - thoughts?

The simple answer is to not worry about it. Both work well. 
The more complex answer is that a huge amount of gear that offer balanced outputs and inputs don't offer true balanced circuits all the way through so the balanced option is more of a convenience thing allowing someone with a bunch of XLR interconnects the option to use them. True balanced circuits offer significantly less susceptibility to hum caused by various factors including grounding (mostly) but also rejection of EMI/RFI. 
I recently switched over from single ended (RCA) to balanced (XLR) interconnects hoping to take advantage of true balanced hardware and I don't notice much difference. Most of the Stereophile reviewers have made comments from time to time about noticing very little difference between single ended and balanced such that they mostly use singled ended interconnects. From a purely practical standpoint though, XLR is so much easier to connect and disconnect than locking WBT-style RCA barrels-I am happy to be away from those. Also, I don't know why it is, but cable manufacturers dwell over their choice of RCA connectors and often have very pricey options offered as upgrades and yet with XLRs they usually just have one option and leave it at that. I have seen obvious XLR "jewelry" on very expensive IC's but even the manufacturers don't seem to dwell much on the cost/quality of XLR connectors as being crucial. 

thanks sql...

I think I’m good with starting with the clearaudio concept wood for my first foray back into vinyl after 35+ years...

as noted earlier in the thread -- I listen to Harbeths -- specifically the M30.1 with a synthesis A100T tube integrated -- it was really good and in the same shop I listened to Audio Note AN-Es and AN-Js again with tube integrated -- IT was close but I thought the AN-E were a little better for my taste that the M30.1s the AN-E is very much like the Devore O/93 that I will audition this Wednesday -- I listened to the Gibbon X on a line magnetic tube integrated amp at the shop last time -- they also were very nice -- I’ll to some other speakers mentioned after I move next week -- but the Harbeth - Devore - Audio Notes are real contenders for the new setup

The integrated amp part is still leaning to the Luxman, but I also like the looks of the Leben CS600 as a tube amp, but that puts me into having to get a phone preamp/stage - which I do not know if I quite there yet.. the whole tube versus a SS class amp like the Luxman is a hard choice.. would be nice if I could audition these as well -- but the amp and speakers will be on back burner until after I get moved to Spokane and find a new place to live.......... moving van comes next Monday

I do have a question -- if folks would be so kind -- about pro/cons on using the rca line inputs - outputs versus the balanced I/O on some of these equipment pieces -- I have no experience at all on the balance I/O - thoughts?