Valve phono stage

Facts contradict your salemanship approach on balanced connections.

@bpoletti  Perhaps you could point me to a link that confirms your position?
Here is a link that confirms mine:http://www.rane.com/note110.html
Scroll down, you'll see a diagram of a transformer hookup. Note that the secondary of the transformer is floating (like a cartridge, the secondary of the transformer is a simple coil with only two connections), per the Balanced Standard, also known as AES (Audio Engineering Society) file 48. There is a charge for the AES paper on that topic, so I can't link that, but here is a google search on 'balanced cartridge connection', also confirming my position:
https://www.google.com/search?client=ubuntu&hs=5U8&channel=fs&tbm=isch&q=balanced+ca...
Note how the cartridge is represented by a simple coil with two connections.

So I would be interested in your source(s).

Regarding sales, it is true that I push balanced line operation. IMO/IME it sounds better and no looking back. My exposure to balanced lines occurred in high school, when I was tapped by a local college to play string bass in their orchestra (1973, Macalester College, in case anyone cares).  At the concerts, I noticed a pair of Neumann U67s hung over the orchestra, with some very long cables going up to a very high ceiling and from there going back down to a booth on the side of the hall. Inside the booth was an engineer named Mike Shields (for real, not a made up name) and a Crown reel to reel, running the balanced line connections from the mics straight into the machine.

It was from those concerts (and his headphones) that I learned that you can run very high quality low level audio signals a really long way without degradation. That seemed a logical thing to incorporate into a phono section when I was designing one years later, not so much for the length of cable but for the additional sound quality. So the world's first balanced line preamp, which incorporated the first balanced line phono section, was the MP-1 preamp, which we still make.

A bit of audio history for you; the MP-1 brought balanced line connections into the home for the first time. Sorry if I still enjoy my work.

Sorry if I still enjoy my work.

LOL!!

Have had the Aesthetix Rhea signature for a number of years.  Balanced out, multiple arms supported, MC demagnetizer, and with some late 50s Amperex or Millard 12ax7 and 6dj8, for the money, it’s very hard to beat.  You can find them used often, and can get ‘re-warrantied’ By upgrading to either signature or eclipse version if you buy on secondary market.   I can not recommend more highly their support and service.  Jim white is on to something here.  I’ll be jumping into some Atlas mono locks the first chance I get!!!!!!!

Any tube fan can explain me what is the advantages of the tube phono stage compared to the great SS design? 

Chakster if you value music that sounds like music, tubes are the way to go.  If you like the way CD's sound or go after the black background nonsense, you might want spend your money on something else.

Tubes are for people who can hear and feel music.  If you want numbers then avoid tubes.  If you want a piano or trumpet or etc... to sound real with soul, well you get the idea.

12ax7 are just OK  look for some one who designed with another tube if possible.  Easy to work with but!!!!

Another little secret, see if anyone is using interstage transformer output final stage, so you can lose the nasty cathode follower. They are cheap and look good on paper but where did the music go.

I know this is not a builder forum so I will shut up now and let the regulars continue the dog fight.

Enjoy the ride
Tom