Phono Stage upgrade to complement Dohmann Helix One Mk 2


Thanks to the recommendations from many users on this Audiogon blog, I think I was able to make a more informed purchase of a turntable, the Dohmann Helix One Mk 2.  I've really been enjoying the turntable for the past month!  

The next phase of my system now needs attention:  the phono stage.  Currently, I'm using a Manley Steelhead v2 running into an Ypsilon PST-100 Mk2 SE pre-amplifier (into Ypsilon Hyperion monoblocks, into Sound Lab M745PX electrostatic speakers). 

I've been told that I could really improve my system by upgrading the phono stage from the Manley Steelhead (although I've also been told that the Manley Steelhead is one of the best phono stages ever made).  
Interestingly, two of the top phono stages that I'm considering require a step-up transformer (SUT).  I'm not fully informed about any inherent advantages or disadvantages of using an SUT versus connecting directly to the phono stage itself.  

I suppose my current top two considerations for a phono stage are the Ypsilon VPS-100 and the EM/IA  LR Phono Corrector, both of which utilize an SUT.  I don't have a particular price range, but I find it hard to spend $100k on stereo components, so I'm probably looking in the $15k - $70k price range. 
Thanks. 

drbond

A major reason I originally chose the Manley Steelhead for the second of my two audio systems is that I wanted at least two sets of phono inputs, one for MM, and of course the Steelhead provides 3.  Plus I wanted a "full function" preamplifier, so as to avoid the need to purchase a separate linestage and the associated ICs.  I don't know how far back you go in this hobby, but there was a time when all "preamplifiers" or nearly all included both phono and line level on one chassis.  I don't know whether or not you have used the linestage section of the Steelhead in lieu of your Ypsilon linestage (I assume the Ypsilon PST-100 Mk2 SE is a linestage), but if you have tried it and found it lacking, I think I know why.  Manley used second rate capacitors as output coupling capacitors in the Steelhead, which in my opinion sets the unit back a bit soundwise.  Easy to fix. It also affects the phono output.

cleeds, By the way, you were quite right to correct me regarding microphones and etc in the recording chain up to the application of RIAA equalization during the making of an LP. I realized after the fact and before you pointed it out that the recording process per se would have nothing to do with either the application of pre-emphasis or the error margin thereof. Thanks for pointing it out to others.

"Wavestream Kinetics Deluxe Reference Level 5.1."

drbond, no_regrets suggestion  arguably might be the "best" true all tube  phono stage you'll get.

https://theaudioarchive.com/TAA_Products_Wavestream_Kinetics.htm

Truly on a different level from all other tube units that are suggested. 

@rauliruegas , I understand the Kondo sound you are talking about.

Thankfully the new generation Kondo has starkly moved towards accuracy and bandwidth extension. For example their legendary Ongaku is their old design. Refined, smooth, boring and laidback. But their new Gaku-Oh is totally a full frequency dynamic beast. The same is with GE10 phono. The only problem is people can't muster spending $60k on a MM only phonostage.

The phonostage should really depend on the cartridge. If you are using a low output MC, then there are few better than EMT 128, particularly if you are using an EMT cartridge. Other suggestions are CS Port C3 EQM 2, if you would like a tube sound.