Hi Lewm - I will add my vote as well to the higher-loading approach, I think that 100K with minimal capacitance is much better (with virtually every cartridge that I've tried) than the common 47K/150pF.
But as far as commercially-available phono stages go . . . I don't really see enough of them anymore to have really strong opinions. I do think that in general, getting the subtle details right makes more difference than any generalisations about whether it uses JFETs, tubes, bipolars, opamps, etc. etc. There are certainly an unlimited number of ways to screw things up, or to avoid doing so.
I'm currently using my Beogram 4002/MMC20CL with a little phono preamp that's an opamp design, made on a Vectorboard . . . and the case and power-supply from a Lehmann Black Cube. Its a two-stage topology like my MC phono unit, with active 318/3180 in the first stage, passive 75uS, then more gain in the output stage. Opamps are AD745 (input) followed by AD797 (output), both of them use complementary discrete JFET buffers for high-current output, within each feedback loop.
But as far as commercially-available phono stages go . . . I don't really see enough of them anymore to have really strong opinions. I do think that in general, getting the subtle details right makes more difference than any generalisations about whether it uses JFETs, tubes, bipolars, opamps, etc. etc. There are certainly an unlimited number of ways to screw things up, or to avoid doing so.
I'm currently using my Beogram 4002/MMC20CL with a little phono preamp that's an opamp design, made on a Vectorboard . . . and the case and power-supply from a Lehmann Black Cube. Its a two-stage topology like my MC phono unit, with active 318/3180 in the first stage, passive 75uS, then more gain in the output stage. Opamps are AD745 (input) followed by AD797 (output), both of them use complementary discrete JFET buffers for high-current output, within each feedback loop.