I need your help. I have an ARC Ref 3, ARC 110, Vandersteen 5As, but no turntable.

We don't know why go and I don't think that's our business unless asked for this specific advice. But if one goes and has the funds - don't save a few thousands on equipment and records. Original pressings in good condition are often not inexpensive, classical is usually less.

Dear @inna : That new Technics is so good that MF mounted on it nothing less that the Lyra Etna SL ! ! and he likes it. That tonearm is very good one but the Jelco is very good too and both very well damped nand with a " natural " options to mate with any cartridge.

R.

Dear @last_lemming  @jaym759: Other gentleman mentioned Ayre phono stage and I can add SimsAudio but you mentioned Parasound JC3 ( all these 3 manufacturer designs are SS units and better than any tube unit no matter what. ). and posted:

"""  No a super high end name but there’s a lot to the unit. ""

well the JC in the model are the designer name ( all the Parasound/Halo units are designe by him. ) letters that's no one less that the great John Curl a true hystorical icon in the audio industry from many years. Here we can read about:

https://www.stereophile.com/phonopreamps/640/index.html  

http://www.tonepublications.com/analogaholic/the-vendetta-scp-2-phono-stage/  

in those times this one was my dream for a phonolinepreamp but I never had the kind of money to buy it but I had the rare opportunity to listen this 3 chasis JC top design that as his Vendetta and his BlowTorch designs outperforms any today tube units and many today top and very expensive SS designs:

http://www.topclassaudio.com/web/eng/used_product_details.jsp?gid=7960

So you have a unit with a " super high end design ", nothing less. Of course Parasound builded at a price point parts.

Btw, this is the audio system that  Michael Fremer used in those times and we can see tubes everywhere on it as almost every famous reviewers of the time:

"""  Sidebar: Michael Fremer's Associated Equipment

LP Source: VPI TNT Mk.3 turntable; Transfiguration Temper, Lyra Parnassus DC, AudioQuest Fe5, Grado Reference, Goldring Excel phono cartridges.
Preamplifiers: Audible Illusions Modulus 3A, Ayre K-3.
Power Amplifiers: VTL MB 450, Adcom GFA-5802, Conrad-Johnson Premier Twelve.
Loudspeakers: Audio Physic Virgo, Aerial Model 8, Sonus Faber Grand Piano; Audio Physic Terra subwoofer.
Cables: Yamamura Millennium 6000, Cardas Golden Heart, Yamamura Quantum, Electra-Glide AC cord.
Accessories: VibraPlane, Symposium Acoustics, and Bright Star Audio Little Rock platforms; A.R.T. "Q" dampers, D.J. Kasser Black Diamond Racing cones, Walker Audio Valid Points, Yamamura Millennium bearing speaker supports, Shakti Stones.—Michael Fremer  """

the Ayre/Adcom there were under review.

From some years now he mainly uses SS electronics, he learned. Obviously that he is a very well regarded reviewer and made and makes reviews on everything of technologies including tubes but the electronics he bougth and are the main ones comes from Dartzeel full SS designs.

Look at this music lover and audiophile audio system he owns. Can you see any tube down there?. Of course not because MUSIC deserves the best for it be honored:

https://systems.audiogon.com/systems/615 

Regards and enjoy the MUSIC NOT DISTORTIONS,

R.

If you have no Lp's now, why go into analog, the learning curve is very slow.

IMO just stick with digital.

The vinyl-deny-ers just don't get it. It's not about convenience or practicality. It's about getting involved. You have to hunt for good records and when you find them, you can touch them and see them and store them tangibly. The turntable is a simple mechanical device that you can touch, adjust, and understand. All of this goes away with digital. 

Back on topic, the OP ought to understand that turntables, phono stages, and cartridges all have flavors. So does the wiring in the tonearm and the phono cable from tonearm to phono stage if applicable (my Reed 3P has one continuous cable from cartridge pins to phono stage-the way all tonearms ought to be :-) ) OP-my suggestion of Gem Dandy Polytable with Jelco arm, Chinook phono stage, and Denon D103R will render rich tone like a Rembrandt painting. Many vinyl rigs that aim for retrieving detail are just not particularly euphonic or fun to listen to. I very much appreciate Raul's affirmation of my gear recommendation but his tagline of "play music and not distortions" is divorced from reality. There is no getting away from distortion. It must be instead accommodated in your favor. If you ignore every other thing I say, fine, but please don't ignore my suggestion that your first new table needs to have an arm that can be easily adjusted in the real world by which I mean on your equipment rack without the necessity of removing it to some laboratory type setting ;- ) The purpose of having a pro set up your table the first time is so that you can hear first-hand how good your deck can sound providing you a reference point but you don't want to end up being in a position where you are helpless without the pro each time your deck no longer sounds up to par. Go Into this with eyes wide open that set and forget does not apply to vinyl. The suspension that holds the cantilever in placer changes with time. You need to be able to detect it and adjust accordingly. If that is not satisfactory, than the quote above does apply validly to you. 

Dear @inna : MF compares that " entry level " TT with the stock tonearms against its full Continnum extremely epensive TT and tonearm and everything. Only this analog rig has a price higher than many of our whole udio system ! ! !.

R.