Valve phono stage

I appreciate your suggestion but I want a dedicated PS.

@infection 

FWIW, an outboard phono section has some problems to overcome. The main one is connectivity- if you have ever had to audition interconnect cables then you know what I'm talking about.
When the phono section is hard wired into the preamp this problem is avoided. In addition the input and output impedances are controlled- so the phono section can perform as the designer intended.

Not considered that... would you say I should?

Since the cartridge is a balanced source, the advantage of having a balanced input is once again that of the connection- balanced lines exist for the sole purpose of minimizing sonic artifacts that can otherwise occur in the cable. Again, if you've ever had to audition cables you know what I'm talking about.
This should be a boon to audiophiles- it means that an inexpensive cable can perform as well as the most expensive cost no object!
Since all low output moving coil cartridges have a very low impedance, the result can be that you don't have to have an expensive cable to make it work in your system and have the tone are cable be absolutely transparent- which is the most important place for transparency to happen- no matter how good your gear is, it can't make up downstream for losses upstream!

So there is a pretty potent argument for running a balanced input, otherwise you are leaving performance on the table.

@steveyork - what was your previous equipment?

@lewm - thanks for the info... I'd like to hear the Steelhead.

@atmasphere - so why do top phono stage designers use RCA inputs?

Infection.  My previous gear included an ARC LS-27 preamp; VTL TP 2.0 II phono stage; and VTL ST 150 amp.  

I’m extremely happy with my Herron set up.  Somewhat reminds me of my Naim set up from 10 years ago with a tube flair.  

+1 @jperry


Overlook Kevin's stuff at your own peril.

Infection,  You asked Atma-sphere why "top" phono stage designers use RCA inputs.  Here's a list of reasons:
(1) It's been the industry standard for so long that nearly all tonearm cables are built for SE inputs, and "top" designers do not want to scare away any would-be customers for their megabuck products by offering XLR inputs, regardless of whether the internal circuit is balanced or not. Conversely, cable makers seem to shy away from creating true balanced phono cables with XLR termination, again because buyers are used to RCAs and because of the above, there are few phono stages that fully benefit from a balanced cable. (Although it's a good idea to use a balanced cable, even if you do terminate it with a male RCA plug, so that ground is carried on a conductor exactly like the "hot" signal conductor.)
(2) It's much more expensive to build a balanced phono circuit than it is to build an SE one, nearly twice the parts count.
(3) There is a legitimate debate as regards the advantages of a balanced phono circuit over an SE one, and some designers honestly stand by the SE type.  But anyone WILL tell you that a phono cartridge (with some oddball exceptions where the two grounds are common) offers a balanced output.  I can tell you from my years with the MP1; I NEVER have hum or noise problems with any cartridge.
(4) It's not quite true that all "top" designers used SE phono circuits.  If you want to bring solid state devices into the discussion, there are a few very expensive SS designs that are balanced; most significant are those from Nelson Pass, who I consider tops among SS designers.  We've also named some other tube phono stages that are balanced; they are not to be sneezed at either.  (I can add to the list the late Allen Wright whose all out tube phono stage, the RTP3C, is balanced input to output.)

So, for balanced tubes, we have Atma-sphere, Allnic, Aesthetix, Allen Wright, K&K, Einstein, and I am sure others.