Preamp Input for Coincident system - Don Sachs, deHavilland, LTA, Joule Electra?

Hi all, I'm looking to spend around 2k on a pre-amp (either new or used) to pair with my Coincident PREs (currently using their Frankenstein mono-blocks as amps; input impedance of 100kOhms). 

I'm looking for something very natural sounding, with good body, some warmth, and -importantly- it must have a remote.  The PREs are very sensitive up on top, so I need clean highs. 

I've been reading a lot of threads and have a few contenders.  Am hoping to solicit some input from anyone who might have compared the following (with PROs / CONs listed):

1.  Don Sachs SP14 - good reviews, available in budget new / long wait to get a unit
2.  LTA MZ2 - some awesome reviews, available with 10-day trial period / some "meh" revies, perhaps a bit of a "clean" sound?
3.  deHavilland  UltraVerve 3 - good reviews mentioning the "relaxing" nature - a good key word for me / new it is out of budget at 3k
4. Joule Electra LA-150 MKII - in budget used, reviews mention strengths in "tone" & "texture" - highly desirable for me / a fairly old product  

Other things to note... 

I'm currently running a PS Audio PW DAC directly to my amps and listen to all types of music; perhaps currently tilted towards "modern" music with electronica and indie influences.  I stream Tidal via ethernet via PS Audio's Bridge II card in the dac.  

While I'm sure others will criticize the DAC, I really like the PWD and it has compared favorably to both a DirectStream (the music became less natural and more analytical) and Lyngdorf TDAI 3400 (the music was very smooth, but slightly less natural with a less well delineated soundstage). 

Unfortunately, the PWD has a bad volume control (throwing away bits at under 50% volume) and the new PREs really show that distortion off.  As such, I don't like listening at low volumes... hence the desire to add a pre-amp. 

Also, obviously I'd love to get Coincident's 101D pre-amp, but I need the remote, so it doesn't work for me.  I tracked the remote version for a long time and was hoping to save up money to purchase, but apparently it was plagued by technical difficulties and often needed service (presumably that's the reason Isreal discontinued it). 

Appreciate any input.

- Chris
@thaluza Thanks for the suggestion, that's exactly why I made the thread. I will investigate...

& @mboldda1 Unfortunately I absolutely must have the remote. I've been trained by a lifetime of whimsical volume adjustment...
+1 on the TRUTH.It replaced my Coincident Statement line stage,now available with dual power supplies and comes with remote.Ed will tailor it to your needs.Stoopid good for the price.You're certainly welcome to pm me if you need to discuss further.
I didn't know about the Truth but it's now high on my radar along with Sachs.  The other two I was considering if you can find them used were the Backert Rhumba 1.2 or Atmasphere SP3 if you still want tubes and don't want to wait for the Sachs. Best of luck. 
I had been a dealer for both the Joule Electra and the deHavilland. The Ultraverve is so much better. You can use it with the finest gear, speakers, amplifiers etc. and feel confident you are listening  to the music as good as it can sound. I have posted some comments from my room at the RMAF with the deHavilland pre and amplifier. 

“Though I've heard the Wilson-Benesch Curve floorstanders many times before, I found that they sounded spectacularly good as driven by Kara Chaffee's amazing deHavilland tube electronics . Nothing I heard at RMAF, save perhaps for the far more expensive Vandersteen/ARC system, could touch this rig for sheer midrange purity, detail, three-dimensionality ." Chris Martens TAS on the 2009 show.

“I've always wanted to audition deHavilland Electric Amplifier Company's products. I was fortunate enough to do so at the show, with the very cordial assistance of Kara Chaffee, deHavilland's designer/owner. I went back to this room about half a dozen times. Kara probably thought that I was stalking her. Truth be told, I couldn't get enough of the sound of her Mercury III remote line stage and Model 50A, 40 watt Triode monoblocks driving a stunning pair of Wilson Benesch Curves. Their were far, far more expensive rooms at the show, off the chart expensive compared to deHavilland's very reasonably prices, yet none of them produced sound so sweet. Kara was available throughout to answer my dumb questions, and spin every special request. I wish that my picture would have captured the subtle beauty of this system. It doesn't get any better than this.” Ed Becker from
“Kara Chaffee of deHavilland Electric Amplifier Company demonstrated her relatively new KE 50A Signature monoblock amplifiers ($10,800 per pair) with her Mercury preamp, ($4,495) the $12,140/pr Wilson Benesch Curve 2.5-way floorstanders and Kubal-Sosna Research cables. Musicality reigned supreme here with the speakers completely disappearing in an expansive soundstage.” Steve March from

Best Sound: “Honorable mentions include systems from: Wilson-Benesch/deHavilland.” Chris Martens from TAS
The Best Room At The Show
deHavilland/Kubala-Sosna/Esoteric/Sounds Real room. "Oddly enough, I believe last year, this room was my runner up. The sound was largely how I remember, but even better. I have my reasons for voting this room "the best" and here they are. It played music for me. Its presentation was very big and wide and spacious, yet intimate. It was as if the music was being played just for me. The timing and pace were right on as was the instrument and vocal definition. No, I don't think this system could fool you into believing that an entire orchestra was right in front of you, but then I didn't hear a single system at the show that could. The front-to-back and side-to-side special cues were intoxicating. At the core of the system are the deHavilland KE-50A monoblocks, which were driving Wilson Benesch Curves. The CD player was an Esoteric X-03SE and the preamp was a deHavilland Mercury III with all cables by Kubala-Sosna (which is new to me). The sound was so damn good I told Kara that if they had a turntable there, it might just push me over the edge. Seriously, as amazing as this system sounded, I wonder what level a solid analog front end would take it to. Here's the icing on the cake for the whole deal - the entire system's cost: $50k. $50k! A lot of dough? Yes. Yet for "Best of Show" at an audiophile event - 50 grand is nothing. Kudos to Kara Chaffee and company for setting up an amazing system with amazing components. The system just shined."
Thad Aerts from The Hi-Fi reader
I like the deHavilland amps more every time I hear them. The smaller room seemed suited more to the Wilson Benesch Curves with the amps; last year this combo seemed lost in the room. Not this time; it was intimate and powerful. The 50A Signature Mono Amps and Mercury III Remote Line Preamp sang an enchanting song together. Previously I had felt the need for the Curves to be powered by bigger amps, but the deHavillands are challenging that conclusion. They startled me with their fortitude, as well as their golden toned dialect spoken through the Curves.

This was a room that I found myself returning to more than once when my ears were tired of all the noise. This is certainly not a cheap system, but it sounded better than some systems that cost three times as much. Most importantly, it was a system that allowed you to really enjoy music. The deHavilland room had almost the same system as last year, but in a different room. The big difference is that, this year the sound was perfectly beautiful. An Esoteric X-03SE CD player into the a deHavilland Mercury III Linestage was providing the signal to a pair of the deHavilland 50A Signature mono amps which was powering a pair of Wilson Benesch’s Curves, all the cables were by Kubala-Sosna.  
"deHavilland Electonics with Wilson Bensch speakers, the room we revisited most. Sound to die for." John Zurek from