Benz micro glider cartridge loading advice needed.

If you read my last post carefully, you will see that on of my points is that although you may swap speaker leads, etc, to create a situation where the phase of the output signal from your preamplifier is the same as the phase of the input, that alone is no guarantee that you have "solved" the issue for once and for all. This is a consequence of the variability of recordings with respect to phase, which is to say (again) that for some recordings, reversing the phase of the input signal is may be preferred, for those who can hear any difference in the first place. The first thing you might want to do is to experiment back and forth with a single recording to establish whether phase makes any audible difference to you in your system in your room. (The listening room probably also plays a role in how easily one can discern an effect of changing absolute phase.)

Here’s a way to think of it. No one is “using” phase inversion. It’s simply a fact that some gain topologies invert the phase of the incoming signal, and some don’t. Designers choose a gain topology based on their personal beliefs about how to realize maximum gain, linearity, bandwidth, etc, with lowest distortion, regardless of how their choices affect the phase of the amplified output signal with respect to the input signal that must be amplified (and for phono, which must be RIAA filtered in the process). Then they inform the end user that the circuit “inverts phase”. That means input vs output. I personally think it’s a tempest in a teapot for most of us. If you’re as sensitive to absolute phase as Dover, there’s a 50-50 chance you’ll prefer the phase inverted output to a non-inverted signal, for a given track on a given LP. Because the phase characteristics of recorded material are all over the place. But if you want to worry, I’d look for a preamp or phono stage with a “phase” switch, unless you enjoy crawling on the floor to swap speaker wires or, god forbid, swapping cartridge connections for every track.

Your last bit about instruments vs vocals being out of phase with each other in a given track is something I didn’t dare mention for fear of scaring the OP. A good reason to just pick a polarity and live with it unless one has a preamp with a phase switch that permits convenience in choosing absolute phase per each recording.

Years ago I ran a blind test of my wife, my then teenage son, and a friend, using the phase switch on my Atmasphere MP1 and listening to my full range Sound Lab ESLs. I stood behind them, out of their fields of view, and flipped the phase switch on several recordings. Neither they nor I could hear any effect.

I should have added that, for those who can hear differences in absolute phase, the optimal phase might be different for each LP, or even for different tracks on the same LP.This is why I’m grateful that with my dipolar ESLs, absolute phase makes no audible difference either to me or to others who are younger and have better hearing.

Some gain stage topologies just naturally invert phase. Some don’t. You can judge for yourself by experiment in your own system whether that makes a difference to your listening pleasure.

If you have no “phase” switch on your preamp, then just reverse the speaker wires on BOTH speakers. Thus both speakers remain in phase with each other, which is vitally important for stereo imaging.

If you have or had the low output version then 100-200 ohms might suffice, because it would have lower inductance than any HOMC cartridge. But the OP has a high output version.

In my systems, absolute phase makes no audible difference. But that’s a different discussion. 

22K or 47K is fine. Set gain to suit yourself.