There is a massive misunderstanding that seems implicit with Raul's post, which is not surprising since Raul prefers digital audio... no idea why he posts here.
This is not about money, its the physics of why its worth it do to it right, which does not cost any more. If your phono section is requiring that you use loading resistances, follow my suggestions here and above.
Input capacitance is a thing with all phono sections. It can be considered to be in parallel with the cartridge inductance, and so reduces the resonant frequency that is always present, which should be kept as high as possible. If ever there was an argument for a vacuum tube input, this might well be it, since tubes have far less input capacitance.
Alternatively, if one were to use a stepup transformer, the transformer blocks the RFI resonance due to bandwidth limitations and may well be why some people prefer using an SUT with their phono sections. SUTs are their own bag of tricks- to get them to work right, they have to be loaded at their output to prevent the transformer from ringing (distorting). This value is different for every cartridge as each cartridge has a different impedance and transformers transform impedance. Usually the transformer manufacturer will have an idea of what the correct loading will be (a good example in this regard is Jensen, who also makes some of the best SUTs made).
At any rate, keeping the cable capacitance low is important for proper phono reproduction! @krelldog , there are no specs (just 'features') on the page you linked.
If no SUT is used, one should always start with 47K since that is the industry standard and has been for decades. This value is used because its less susceptible to noise that a higher input impedance might be, while easily driven by moving magnet cartridges which are very susceptible to loading at audio frequencies, unlike moving coil cartridges (unless the latter is high output, since its the inductance that causes the susceptibility). From there reducing the loading resistance can be explored if needed.
**The highest value you can use is recommended for best results.**
That can be considered a general rule of thumb.
Again, if the phono section is unstable or has poor overload margins the result will be more ticks and pops. People often ask me how I get such low noise reproduction without ticks and pops and that is the secret. Many people grew up with unstable phono sections (most Japanese phono equalizers made during the 60s, 70s and 80s were unstable) and so just assume that ticks and pops are part of the LP experience, but it does not have to be that way.
