Phono Stage upgrade to complement Dohmann Helix One Mk 2

@drbond I envy your dilemma - lovely turntable 

I heard the FM in a Vertere FM chain and it was compared to live music and I couldn’t tell the difference - astonishingly good 👍 

I was also deeply impressed with a Constellation. I was not as impressed with a Zanden set up nor the KSL set up - I found both a bit syrupy and soft.

I heard the previous Whest reference and it is exceptional at hanging things in space and time. A new one is coming out this year - speak to James Henriot who makes them. It’s some way off ur price ceiling - around £10k but I’m sure you’ll go for performance so it’s worth a whirl. 
i would hope that with your demands dealers will happily lend you a component for a few weeks to decide properly - I hope you get a good one .

@kennyc 

I wondered how long it would be before someone mentioned the vdH Grails.  They seem to be grossly under-rated here and almost never mentioned.

A couple of years ago I auditioned the more complex SE against Nagra, Boulder 1008 and AR Ref 3 in my system for three weeks.

It was the best of them.  Nagra wasn't nearly tight enough.  Boulder way over-clinical, really unmoving and tiring to listen.  AR better than those.

But the vdH was an unbeatable combination of accuracy and musicality.  I guess it was voiced by AJ although I understand he didn't contribute much to the electronic design.  Long story short I bought it and haven't looked back.  This is my last phono amp.

Yes, the current design is a big advantage as no manual impedence matching is needed and it works equally well with any MC cart, although all mine are at the low output end.

I am not quite sure why you are so provoked by some of my opinions, but this line of argument is too silly to continue. I’d be interested to see a list of tube phono stages that you currently would endorse as competitive with whatever are the best SS units in your opinion. Even a hybrid type that meets with your approval would be interesting to know about.

I once spent a long afternoon listening to first the Ongaku and then the Gaku-on with an outboard power supply. On the same system and driving the same pair of Audio Note speakers, etc. First one amp, then the other. My impression was both sounded "very good", but they did not sound the same at all. It seems to me that there should be one "Absolute Sound". The best amplifiers should begin to sound the same as you approach perfection in amplification. That experience drove me away from SE amplifiers in general, and anyway SE amplifiers are not suited to driving ESL speakers that I favor, by and large.

Dear @pani  : " 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. ""

Just at the end of mt over 10 years audio tube stage my friend and Audio Note distributor gave me the opportunity to listen for 3 full weeks the Ongaku when I told him that I decided to go with all SS electronics and till today and even that I listened several other contemporary tube electronics just don't " come back to ".

I'm really way demanding as I know you are in the quality level performance of any room/system I been or be listen it. As I posted I'm not married with what " I like " but with how it : should be.

Thank's for your post.

R.

Dear @lewm  : " Keep in mind that Raul has a fanatical hatred for any component that uses a vacuum tube. His judgement is not objective.."

WRONG again. As you I was a tube love for 10+ years and the Ongaku that pani named was my last experience with because at that timwe and contrary of you I LEARNED and I know in OBJECTIVE terms that the worst place to have a tube electronic unit is a  phono stage .

"" Contrary to Raul’s insinuation, I never said or even meant to imply that the Manley Steelhead is the be all and end all of phono reproducers. But I think that my tweaked one is pretty good. ""

WRONG again+, that's only yur imagination I never posted that " insinuation " and your " pretty good " unit is because you still like to live in the " error ", fine with me. It's your problem, got it?: your problem not mine.

R.

Keep in mind that Raul has a fanatical hatred for any component that uses a vacuum tube. His judgement is not objective. In my opinion, your best course of action is to try to audition as many of these high end phonoline stages as you can, both tube type and solid state type, before making your purchasing decision. I don’t know where you live, but I do realize that it is difficult these days to find a place to just go and listen. You may have to travel to do so.

Contrary to Raul’s insinuation, I never said or even meant to imply that the Manley Steelhead is the be all and end all of phono reproducers. But I think that my tweaked one is pretty good.

@rauliruegas 

Thanks for sharing your musical preferences.  That allows me to better understand your  musical perspective.  I understand that you want a system that reproduces every nuance, as if you are in the orchestra with the musicians, along with the microphones, and the Lyra Atlas definitely makes me feel that way, and I understand why you have such an affinity for that cartridge.  On the other hand, the Koetsu does make you feel like you are further back in the audience seating, where details are lost, but some people think the sounds combine more musically the further back you are from the orchestra / musicians.  Your perception is that this effect of the Koetsu is s a deficiency, and technically, I suppose you are correct.  

As previously mentioned, it does seem that most experienced audiophiles do prefer a SS phono stage, and I am looking in that direction.  While I haven't researched all the recommendations yet, I would say that I'm preliminarily leaning towards the CH Precision P1 with X1 power supply.  

Thanks. 

The Van Den Hul Grail SE (or SB) is a “CURRENT” phono stage that has garnered excellent reviews.  I own the SB.

Another vote for Boulder 2108.

I'll be saving for one myself soon enough.  I find Boulder to be just so musical. My yardstick isnt the aforementioned s/n ratio, but whether a component causes me to change my plans and llisten to music some more.  

I find Boulder to be unsurpassed in the regard. 

Dear @drbond  : Obviously you can ask but take in count that the Manley design came from 2001 with no seriously changes where you can say: " nigth and day differences for the better ".

""  seem that most people are preferring the SS phono stages these days. . .""

and for very good reasons. I already told you that the worst place to put tubes is in a phono stage unit. Line stages or amps are different.

R.

@tablejockey

@no_regrets

Yes, I have an audiophile friend who has had the Wave Kinetics Deluxe Reference 5.1 phono stage for years, and he enjoys it; he says it’s much quieter than an Allnic phono stage, but that he still prefers the newer SS phono stages. . .
Thanks for your recommendation.

@lewm 

Thanks.  I'll DM you this weekend, although Mr Slagle didn't sound too excited about doing anything with the Steelhead, as I'd contacted him 4-6 months ago about an EM/IA LR phono corrector. . .

If you are interested, I can talk to him and explain the very simple upgrade I did myself.  I can describe the output circuit to him as well.  You can PM me.

@rauliruegas

Thanks for sharing your research on the Manley Steelhead. It does seem that most people are preferring the SS phono stages these days. . .

@lewm

I heard back from David Slagle, and he said that he’s "not familiar with the Steelhead, so I’m not sure how much help I could be in improving it"

Dear @lewm  " Manley used second rate capacitors as output coupling capacitors in the Steelhead, .."

I can see in the circuit boards MIT and Wima caps. Which are the ones second rate you are talking about?

"" which sometimes tends to make us forget that all of these devices are made of pretty much the same components: Wires, resistors, capacitors, etc. ..... Good circuit design is not the exclusive province of the ultra high priced segment. "

Do you really think in that way?  because if you did then you are totally wrong.

@drbond  your manley is a " so so " hybrid " design ( Jfet ) and nothing more. Even lewm choosed " mainly " ( that's what he posted in the thread. )because accepts more than one cartridge.

This is what MF that had the Manley as his reference phono stage standard posted a little latter on:

" With the ASR Basis Exclusive on Cisco's upcoming reissue of Ian and Sylvia's stunning Northern Journey (Vanguard/Cisco VSD 79154), the guitars, mandolin, and autoharp crackled with sparkling, transient-snapping excitement yet with plenty of body, while Ian's and Sylvia's voices had a you-are-there clarity and presence. Image definition was precise, three-dimensional, and well focused, while Russ Savakus' bass was taut, with plenty of wood behind the string plucks.

Switching back to my reference Manley Steelhead phono preamp presented a completely different take on the same music: a more mellow overall balance, softer transients, and greater emphasis on midbass warmth. This made for a smoother balance that was easier to listen to yet still had plenty of detail—but it couldn't match the ASR's sheer excitement, or its ability to resolve the lowest-level detail in stark relief, all without sounding bright, etched, or hyper-detailed.  .

I compared the Steelhead and the ASR with the classic Mercury Living Presence LP of Aaron Copland's Rodeo, El Salón México, and Danzón Cubano, recorded in 1957 (!) by Antal Dorati and the London Symphony (SR90172). I found the ASR's overall presentation in fully balanced mode airier, more transparent, deeper, wider, and more dynamic overall. The brass had a lifelike, piercing, yet plush realism that the more softly sprung Steelhead couldn't equal, and there was no match in the reproduction of the thwack of the timpani, which had far greater impact through the ASR.

It was an impressive presentation of a recording that, like many Mercurys, can sound thin and ungrounded. ""

Anyway, That ASR is out of production an was a SS design.

R.

@lewm 

I can contact Dave Slagle myself, but thanks for the offer.  I'll let you know what I hear from him.  Oddly, my Manley Steelhead power supply unit just started buzzing last week (as if it knew that I was looking to replace it, or perhaps I knew that it was going to start acting up), so I'm sending in the PSU to Manley for repair, so it might be a perfect time to send the head unit to Mr Slagle for an upgrade!

drbond, You might talk to Dave Slagle at Intact Audio. He is also associated with EMIA. I could talk to him about the Steelhead phono and line output stages on your behalf. Dave may even have some better ideas, since his knowledge is much deeper and wider than mine. He certainly has the capability to do more than I would dare to do.

I think we get caught up with fancy chassis’ and high prices which sometimes tends to make us forget that all of these devices are made of pretty much the same components: Wires, resistors, capacitors, etc. I think of them as malleable to suit my own preferences. Good circuit design is not the exclusive province of the ultra high priced segment.

Dear @drbond : I’m a MUSIC lover and normally I listen to classic and Jazz/Blues recordings. I don’t play any instrument and my prefered reacording instrument is piano but I listen everykind of classic scores and I like too some type of Opera scores too.

Now, time to time I listen old rock recordings of the .Presley and B.Haley times or disco Music recording from the 70’s-80’s that some of us danced in the discoteques of those times. Btw, these kind of disco music listened at average 95db SPL with peaks around 105db SPL is way demanding and a ytrue tests that only a few system can do it in the rigth way with out compresión or any kind of " colapse ".Several of these type of recordings ( that mainly came in single 33rpm or 45rpm from Italy, England and Germany. ) can sounds really agressive and way ( sometimes. ) strident in almost all system but the really good ones. As I said a " tourtuose " test for any room/system as is the Telarc 1812 at those SPL. No, I don't listen at that SPL. Normally I listen at around 82db at seat position, sometimes even lower.

In the last 30 years I attend every week to listen the seasons of different classic Orchestras and twice a week ( obviously not during Covid. ) to Jazz/Blues clubs and eventually to big events when comes groups as Eagles, Foreigner and the like.

Yes, I always try to be seated at near field position but in the big " rock " live concerts. We have to take care our valuable ears.

R.

@lewm 

Interesting insight about the Manley Steelhead.  I assume that you have replaced some of the capacitors in your unit?  Who would I send my unit to if I were interested in "upgrading" the Manley Steelhead with new/different capacitors?  
Thanks. 

@laoman 

Thanks for the recommendations, but both the CS Port C2 EQM 2 and the EMT 128 (both of which are but phono stages, and look like high quahily products) only have one input.  With my two tonearms, I would prefer a phono stage with two inputs. 

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.

@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.

"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. 

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.

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.

@alucard19 

Thanks for your recommendation, but the Whest audio only has one input:  i would need two.  

For around $15k you might want to look into the Whest audio TITAN Pro 3-stage phono stage. Whest audio only does phono stages and does them very well.

Hello drbond,

Another suggestion for your consideration would be the Wavestream Kinetics Deluxe Reference Level 5.1.

It is an all tube design currently using (2 x 12AX7, 4 x 6DJ8); with extremely low noise ( I believe with the external power supply, noise is below 1uV (one-millionth of a volt ) competing with the best of the solid state phonos; providing 3 front panel selectable inputs providing 62 dB of gain (without the use of SUT’s or FETS) with a useful cartridge range of 0.2mV to 1mV. Having both Balanced and RCA inputs and outputs; adjustable loading available on the back panel via custom loading plugs; and an essentially flat RIAA EQ curve within one tenth of a dB (.1dB) from 3 Hz to 40 Khz.

Naturally, with any tubed phono high gain phono stage you will want to use selected low noise tubes, but I can say when using my NOS Mullards in this phono stage, it is dead quiet with my ears up against the speakers with my Dunlavy Signature SCIV's 91 dB sensitivity.

I love not having to use a step up transformer with this phono stage; not having to worry about the SUT coloring the audio signal, worrying about possible hum issues, and having to use extra interconnects and connections, etc.  

The Wavestream Kinetics gives me the pure, high gain, low noise sound that I love. It is incredibly dynamic in both the micro and macro sense, has the "meat on the bones" which many crave, brings the human voice to life, showcases the resonance of the body of cellos and acoustic bass, has the finesse for brushes on cymbals, etc. The music sounds pure and organic.  It is not syrupy or tubby or loose in the bass.  It truly is an incredible phono stage built by Scott Frankland who offers incredible customer service and support, which is the icing on the cake.

Best wishes,
Don

Thanks for everyone's contribution to this thread.  I'm finding the discussion rather informative.  

It appears that most on this forum seem to advocate for a SS type phono stage, as opposed to a tube type phono stage.  I'm not certain of my preference at this point.  
While some point out that an excellent sound system should reproduce music, regardless of the type of music played through the system, I'm not convinced of that either, as the musical instruments in classical music behave entirely differently than the modern synthesized music, which has little complexity, and no harmonics to the instruments by comparison.  

@rauliruegas : what type of music do you listen to in your system and what type of live music do you listen to?  
Thanks. 

I did not mean to imply that +/-2 db was the actual permissible margin for error back in the late 1950s. But I did search for that sort of information, and in the course of that search this is the only number I could come up with. In my last two posts I tried to make it clear that I was not claiming that the error was precisely that wide which I agree is unlikely to be the case. My only point is that when you are arguing over hundredths of decibels with respect to RIAA, in comparing one phono stage to another, eventually you get to the point where tiny differences could make no audible difference, and I still maintain that LPs from the early era and maybe up till now from different manufacturers will themselves exhibit different levels of adherence to the RIAA curve. And I would posit that such differences exceed +/-0.1db, which I think is probably as good as you ever need in a phono stage.

Dear @drbond  : Whatever be your phono stage decision you have to think that with stand alone phono stage units as the FMA the next stage where the signal must goes is a line preamps and you need at least the same quality design levels for that signal been quality preserved.

In the other side and is only an opinion and knowing very well your speakers it's a must to change your amplifiers for those Soundlabs great speakers really shines as never before.

You don't need to buy a boutique amplifiers, my recomendation is to go for the JC1+ monobloks. I listened Soundlabs/JC1s and are outstanding mate and the JC1+ set you back almost ten times lower price that your today monoblocks:

https://parasound.com/jc1+.php

R.

“Harsh”?

Harsh would be if I were actually “imagining “ the RIAA issue, and by the way I said nothing about S/N ratio. I suggest to Raul that he read up on the history of the RIAA correction. Do you think RCA and Columbia LPs adhered to the exact same spec and with the same accuracy, once they both finally adopted RIAA? That level of perfection was not even required by the NAB, which is the reason I quoted the +/-2db spec. Plus, I was not arguing that it is not a good idea for a modern phono stage to be very accurate, only that at some point quibbling over hundredths of a db becomes mental masturbation.

@rauliruegas , I am as neurotic as you are and do my best to choose the best performing equipment I can given the information I can obtain. Channel D lists the Seta L's A weighted SNR at 71 dB down but 67 is still better than the Boulder's 64. However, look at that Seta L20!  But the sad fact of the matter is that vinyl is inherently imperfect and generally much worse than the equipment we use to "read" it. So, I would not be so harsh on lewm. It is just a different way of viewing the same problem. Ours is also perfectly valid, neurotic but valid. 

Dear @pani : Never had the opportunity not even to see it. I know very well the Kondo design estrategy and japanese unique way of thinking and I know very well the Kondo silver caps.

Yes, for an all tube designs it’s not only very expensive but with excellent performance inside the tube limitations.

I was for almost 10 years a tube lover and have first hand experiences with almost all the best of the best tube electronics and I learned very carefully of its true limitations against the fully advanced designs in all solid state designs that is an almost not limited design alternative.

Look, it’s not fair for tube alternative to try and make comparisons against a way different electronics alternative that for me is a superior one and especially when we are talking of phonolinepreamps.

Everytime I make listening item comparisons, been analog or digital medium, I compare what the room/system gives against my several first hand experiences with live MUSIC seated at near field position ( that’s the way recording microphones are " seated ". ) and listening the same recording tracks that I know even how performs its click and pops.

I’m not married/biased with what I like but with what should be.

I respect other gentleman opinions and especially yours but we have different targets and due that I’m not a rich man I have to learn and learned by my self and with the advise of gentlemans with higher knowledge levels than me how with out all that money need it to be " there " I can be " there " modifiying, up-grading, building and fine tunning my room/system. As a fact from some time now I’m in the fine tunning stage.

R.

@mijostyn  : Directly from the Channel Dsite:

"" also feature low noise that ranks among or better than the world's finest phono stages. Here is a comparison of measurements performed by Stereophile (including issue dates for verification) of the signal to noise ratio (SNR) of moving coil phono preamplifiers, including our Seta Model L. Higher numbers are better. The quietest are highlighted in boldface.
 

The lewm imagination about RIAA is only that: imagination, he shows no facts but even if exist facts that it does not matters. Wwe audiophiles can have some kind of control of the playback recording proccess but no single kind of " control " of the whole overall recording proccess. So I must take care of what I can have control no matters what. Only lewm cares of what he has no single control at all. You agree with but I'm not. Period.

R.

@rauliruegas forget about other Kondo models, they are average. Have you heard the GE10 ? I have heard it in a full FM acoustics system and compared with a FM 222 phono in the same system. 

@lewm , absolutely correct. It is like rumble specs in turntables. It is nice to be quiet but it does you no good if the lathe rumble is much higher.

@rauliruegas , I'm not sure where you are getting your figures from but with a bandwidth of DC to 20 megahertz the EIN of the seta L 20 is -134 dBu UNWEIGHTED. That is an unheard of performance. Granted I have not seen any independent testing and figures but even if Channel D was 20% off this would still be far in excess of any other phono stage that I know of. Even the lowly Seta L is better than the Boulder, 64 dB down A weighted VS the Seta L's 71 dB down, A weighted. That is close to 1/2 the noise level. 

On the issue of RIAA correction, I certainly agree that adherence to the standard curve should be tight, but my question is how tight makes any difference? Channel D claim their phono stages are within 0.1db, guaranteed, and typically within 0.01db for any given unit.  If you read the history of phono equalization, you find that the original tolerance for meeting the RIAA curve was +/-2db.  That was probably the margin for error of necessity, based on the microphones and the recording equipment up to and including the lathes available in the late 1950s. I am not sure whether that applied to making LPs or to reproducing them in the home, but it seems certain to me that most of the vintage LPs we cherish will vary by quite a bit more than +/-0.1db in their adherence to the standard curve.  So, when you're decoding one LP vs another, you can not be sure that your phono stage is correcting for the pre-emphasis put into it by the maker with the accuracy claimed. For one LP, it may be as perfect as claimed.  For another LP it may be off by much more than 0.1db.  So, I would ask for very good RIAA accuracy, but I would not choose one accurate phono stage over another based on ultra-precise adherence to the imaginary pre-empasis curve.

@mijostyn  : Really? No, you are wrong. As almost always I don't post almost nothing the thread gentlemans/audiophiles can't corroborate.

The L20 weigthed S/N is 88db and you can see it in the chart where Channel D made a comparisons with older Boulder models.

The BM MCCI measured by JA STEHP figures are:

"" very quiet phono preamp: its unweighted wideband signal/noise ratio, measured with the input shorted and ref. 500µV at 1kHz, was 83.2dB in the left channel, 71.8dB in the right. A-weighting these ratios gave improvements to 99.9 and 103.3dB, respectively. Channel separation was equally superb, measuring >105dB at 20kHz. "

Way better.

As I said to you:  " I never heard that phono stage ( L 20 ) that you like to much and I think is a good contender.

R.

@rauliruegas , I think you are thinking of the Lino C which is a more entry level unit. The Seta L Plus is quieter than the Boulder and can be had with s super accurate RIAA board or it can use even more accurate digital RIAA correction through Channel D's Pure Vinyl computer program. The Seta L 20 is a really serious piece of work. Check out the specs on it. I think you will be amazed. I would love to try it but I can't get myself to spend that much on a phono stage. 

Dear @drbond  :  In the analog system chain I think that the phono stage perhaps is the hardest challenge for any designer/manufacturer because they have to deal with design special characterisitcs that at some time has a intrinsecal relations ship in between that is really complex to satisfy all them and the challenge is acomplish all those characteristics.

I already talked of the firs characteristic that's the inverse RIAA eq challenge the oner main phono stage characteristics are a design with high gain ( with some LOMC cartridges is need it around 80db. ) and at the same time with the third characteristic that's very low noise.

So the scenario is the worst one for all tube electronics, no one can fulfill the main phono stage targets to fulfill too the cartridge needs. No, SUT s can't do it due that are frequency bandwindth limited and develops too its own kind of " distortions ". I know that not only you but several audiophiles like the tube kind of didtortions/colorations but as with my RIAA explanation the issue is to stay truer to the recording that puts us a little near to the live MUSIC experiences. This is the target, try to mimic live MUSIC experiences, if this is not the main target of any one of you then follow doing what you did it all your life: " this is what I like it ". No problem at all.

So, the best phono stages must be SS active high gain/low noise designs. Till today no one all tube design fulfill the phono stage needs no matters what when exist some SS alternatives.

FMA and Boulder can do it even the Boulder little brother 1108. CH is an option too I listened one of its model designs and makes good job ( its top of the line goes for 90+K dollars. ).

IMHO first than all you have ( I think you already did it. with tubes.) to re-think your main system reproduction targets and go for the ones that fulfill it.

Btw, I listen the Nagra VPS in tube mode, not a unit that puts me near to the live experiences. I never had the opportunity to listen the Classic line but its measured characteristics are exactly the same as any tube phono stage:

FR: 20 Hz – 50 kHz     +0.6 dB    RIAA

Output impedance 500 ohms.

In this thread named the Audio Noote Kondo and the EMT. Both the same " history ". No one of this kind of unit designs really can honor true MUSIC. Yes, can " honor " what we like it that's a different issue.

@mijostyn  the humble BMC MCCI outperforms the Channel D at noise figures levels and its RIA deviation is beated by the FMA units and even the Boulder's. I never heard that phono stage that you like to much and I think is a good contender.

Good point from lewm, Dartzeel is other option.

No SUT's in the SS I named all high gain active designs.

R.

@drbond , I also have Sound Labs speakers, 645-8's. They are 8 foot tall speakers that are 36" wide. Yours are 40" wide. lewm also uses Sound Labs speakers. I am also waiting patiently for a Lyra Atlas Lambda SL. It seems we have similar tastes in transducers. I'll side with Lewm here. A current mode or transimpedance phono stage is the way to go. The CH Precision P1 phono stage is the one Michael Fremer uses. It is very expensive but falls within your limits. I think the finest phono stage currently available is the Channel D Seta L 20, an amazing piece of work. It is hands down the quietest phono stage ever made. It has a self charging battery power supply and will run in either current or voltage modes. I think it is $60,000. I plan on getting the Seta L plus set up for current mode operation. With an RIAA board it goes for a more reasonable $11,000. It is also battery operated but is not quite as quiet as the L20. It is not near as versatile as either the L 20 or the P1. But, I am one of those straight wire with gain people and prefer fewer switches and less wiring. Running a cartridge in current mode has one very major advantage. Cartridges are a type of generator. They produce current at a certain voltage by moving a coil in a magnetic field. Any generator can also be a motor, you just reverse the process by putting a voltage across the coils and you create a force that causes movement. Voltage across the coils of a moving coil cartridge affects the movement of the cantilever (tracking). A transimpedance phone stage has a vanishingly low input impedance thus there is very little voltage and there is little if any affect on the cantilevers movement. Tracking and the dynamic performance of the cartridge is improved. The Sutherland Phono Loco and BMC MCCI are other examples of current mode or transimpedance phono stages. The caveated is that you have to have a cartridge with a coil impedance as low as possible, certainly under 10 ohms.  Your Atlas is 7 ohms I believe. 

@drbond, I cannot separate one or the other systems in terms of performance. Like my two children (lol). They have different design philosophies yet they both arrive at outstanding levels of music reproduction. Both extremely dynamic, natural and engaging. In good recordings, you are certainly part of the audience in the front table. They can reproduce equally well large scale events or a duet. The FMA will provide more fine-tuning on the spot for cartridge matching but so can the Ypsilon with custom or special order SUTs, if you have difficult loads. Regarding A/B comparison of the phono, I have not done as the two systems are in different continents. Even though the FM122 is easily transportable and works in 100-240V, the turntables and cartridges would be different. Therefore, never done. I enjoy both systems equally as I have tried to maximize performance for the budget and space. Apologies for not being as concrete as you would have liked. In any case, I would recommend an audition before you buy. When I was selecting my systems, I visited both manufacturers for audition as there were no dealers near me. They were both kind enough to facilitate. Hopefully, you do not have to do so. Good luck

I have heard the DSA Phono2 in my own home, demonstrated for me by its creator. I compared it to my tweaked Atma-sphere MP1.  The DSA did everything well, best of all, I thought it was not especially "solid-state" sounding compared to the MP1.  The best SS units these days should not be distinguishable SQ-wise from the best tube or hybrid phono stages.  The MP1 is another unit worth your consideration.  Drawback would be it only offers one phono input pair.  Advantage would be it has a built in linestage of very high quality.  The Phono2 was incredibly flexible; if the Phono3 sounds even better, maybe you ought to audition it.  Then there are the many megabuck full function preamplifiers and/or phono stages from Solution (Solution 750), Constellation (see their Reference Series), DarTZeel, and others.  Plebeians like those of us who inhabit these forums are unlikely to have validated opinions on those stratospherically priced units, except maybe for Mike Lavigne.

"have 10-15 years left of good hearing, so I may as well spend my money on something I can enjoy for a while. . . "

We're only here once.

drbond-

Hopefully your diagnosis ISN'T correct, and deterioration is MUCH slower. For me it's MASSIVE tinnitus/7K khz and above is all but gone for me. Compliments the rest of my medical baggage(plenty)

While this  isn't  in the upper echelon of "higher fi," it was an Agon darling 10 or so years ago. The build quality looks a little cheap, but all reports seem to say the same thing-excellent all tube phono stage.

https://positive-feedback.com/Issue57/nvo.htm

https://www.ambienceaudio.com/product.htm?id=qk9nthln

Happy hunting.

BTW, I have also heard the FM 222 Mk2 extensively in an all FM system. It is very expensive and overall very good sounding too. Neutral and dynamic. But it lacks a bit of that final finesse in flow which allows you to melt into the musical piece. It is a weak complain though.

@drbond I have some experience with some of the phonostages you are considering (not all though). I used to own a EMIA CR phonostage and still have the EMIA SUT in my system. I have extensively heard the FM 122Mk2 in couple of my friend's systems. I have also heard the Boulder. But I have no experience with Steelhead and Ypsilon. As you might have already figured out, there are 2 ways of doing LOMC amplification. With SUT & without SUT (all electronic). Both camps have strong followings. IME, an all electronic phonostage with high dynamic range, low noise, low electronic artefacts is not an easy act. Very difficult in fact. Even a Pass Labs XP25 sounds better when paired with a well matched SUT into its MM input than its direct MC input. So even Nelson Pass struggles with it. Hence one should be very careful of choosing a high gain all electronic MC phono. There are many one-man brands which I call "designer" audiophile brands who make such exotic designs bypassing conventional methods. I stay away from them at least when choosing such sophisticated engineering hardware.

The EMIA CR that I had was good but had some dynamic compression which bothered me. Tonally too, it was not exactly neutral. The FM 122 Mk2 is very good. It has a solid state presentation but still one of the more complete sounding SS phonos I have heard. DSA phono was outright SS sounding, bam bam thank you mam types, lacked subtlety. The really good ones which are lifetime keepers are Kondo GE-10, Technical Brain TEQ-Zero, Silbatone SQ-107 & EMT JPA66 Mk3. These are my personal all time best phonostages to buy. Incidentally they all use SUTs.

Allnic H-7000V has 2 MC inputs

I own the DSA Phono2. My previous phono preamp was a VAC so they are both excellent but different. The DSA phono preamps have 3 inputs (both RCA and XLR) and each will remember the setting for that input. I have two tonearms on my table one with a Miyajima Madake and the other with an Ortofon Windfeld Ti. The Phono3 has added circuit improvements and a remote enabling adjustment of loading while seated and listening. There is adequate amplification to handle almost any cartridge and many loading options. The Phono2 starts at 25ohms and can be increased in 25 ohm increments up to 1575 ohms. The Phono3 may have ever small incremental increases available. The Phono3 I have listened to is improved over the Phono2 IMO. Micheal Fremer has done a preliminary review on the original DSA Phono3 unit and Greg Weaver from TAS (I think) and Positive Feedback owns and uses the DSA Phono2 as his reference in many reviews. There is also a review of the DSA Phono2 on the Mono and Stereo site.

@drbond

I currently own the following,  DSA II, Boulder 2008, and Nagra classic with dual MC and external power supply.   The Nagra , in my system is better than the other two.  I have had the Ypsilon SE in my room for extended periods,  and preferred the Nagra.   A dear friend has both Ypsilon line stage and phono SE, together they sound sublime.  I highly recommend both Ypsilon and Nagra.  I have never listened to the FM.  Good luck. 

Jose