Best Way for my TT to reach my Pre-Amp!?

Great to know thank you Al! 
I already wrote Marantz about the phono input capacitance. I will write them about the line level input impedance as well. 
I wish I understood how that all worked. Impede sounds like it’s resisting something. So if the Marantz has low impedance then why would a tube amp have a hard time with it? So would I also want to make sure the operating ohms of a tube amp is on the higher end and closer to 30-40k?

I wish I understood how that all worked. Impede sounds like it’s resisting something. So if the Marantz has low impedance then why would a tube amp have a hard time with it? So would I also want to make sure the operating ohms of a tube amp is on the higher end and closer to 30-40k?

Yes, resistance is a form of impedance. For further explanation of the difference between impedance and resistance see my first post in the following thread:

https://forum.audiogon.com/discussions/the-difference-between-impedance-and-resistance

A tube power amplifier is very unlikely to have a problem with the Marantz. What I was referring to that **might** result in a less than optimal impedance match is driving the Marantz with the output of some tube-based phono stages.

It’s important to distinguish between how output impedances and input impedances relate to the component providing the signal. From the perspective of the component providing the signal the input impedance it is driving appears in parallel. Thus the higher the input impedance the lighter the load it presents to the component providing the signal. While output impedances can be thought of as being in series with the connection, and thus the higher the output impedance the more the signal will be affected by the interaction of output impedance and input impedance. Which tends to be especially problematical if output impedance is high AND input impedance is low AND either impedance varies significantly as a function of frequency, in which case frequency response and/or phase response anomalies can result.

And components employing tube-based output stages often have coupling capacitors at their outputs. The impedance presented by a capacitor increases as frequency decreases, which often results in the output impedance of a component employing a tube-based output stage being much higher at deep bass frequencies than the specified output impedance, which is usually based on a mid-range frequency such as 1 kHz.

For further comments regarding impedance matching of line-level interfaces, see my first post in the following thread:

https://forum.audiogon.com/discussions/amp-preamp-impedance-matching-can-anyone-explain

Regards,
-- Al

Think of it this way craigert, electricity is like water. The signal coming out of a component is like the water coming out a pipe. In order for the water to do work, blast off the driveway say, it takes a lot of pressure. That's voltage. But you only have so much water coming in from the street. That's your power supply. This is why components like amps that use a lot of power, they have their own private reservoir called caps. Big amps that drive speakers have huge reservoirs, able to supply water to thirsty speakers. Small amps like a phono stage have very small ones, barely enough to sip through a straw.

Now the music signal, its not a nice steady flow but instead is one powerful surging pulse after another. In order to get a drum whack to sound right, its like trying to blast a rock off your driveway. What do you do? Hold the hose wide open? Then you lose all the pressure. But put your thumb on the end, pressure goes way up, now the stream has all kinds of pressure, blows the rock right off. 

Your thumb is impedance. High impedance, high resistance to flow, high pressure, high transient response. Low impedance, low resistance to flow, source component runs out of gas, drains the bass and dynamics right out of the music.

Yeah its more colorful and metaphorical than technically correct, but more than good enough to see you through. 

Just about any but the cheapest stand alone phono stage will blow away every phono card ever made. Any.

I either don’t follow or don’t agree. As a designer, if i have a high quality power supply, box, and attendant hardware already there, for free --- making a superb phono board is relatively easy and inexpensive - I can deliver $1500 performance for $500, even being lavish with components.
Nothing changes except an independent box has vastly more cost, and a bunch more wires and plugs to degrade the sound. And take up space. Oh, and the fancy faceplate you can point to.
There’s a reason for stand-alone phonos, but they are not automatically superior in any way.

For the record my dedicated phono stage, plug-in card and preamp with integrated phono were all the same circuit. Not similar, same. Once i optimized it, what was i supposed to do, make one worse just so they were different? It didn’t save any appreciably money (unless i went to a cheap-ass design, and guess what -- that still doesn’t save that much, the PCB is the single largest cost anyway - if you make them in the USA)