One thing I would like to suggest is that the balanced outputs be on 1/4-inch TRS jacks and be resistively balanced, not actively balanced. The ring would go to signal ground through an impedance matching the output impedance at the tip. A fair number of good designs are using this approach. This way, we have 100% balanced/unbalanced compatibility. I would propose a TRS jack with a TS-to-RCA adapter for those who want RCA. While XLR and out-of-polarity signals on pin 2 and pin 3 may be nice, I don't think they buy much in this type of an installation, typically limited to one control room. This goes against what I normally suggest, but in this case it makes sense in my opinion. Cheers, Richard On 2015-04-11 3:53 PM, Corey Bailey wrote: > Hi Tom, > > Thanks for bringing up this topic as I'm currently designing a > restoration phono preamp for my own use. I'm doing this simply because > it's been awhile since I've built anything electronic or done any board > level work and I feel the need to scratch that itch. > > I'm basically going to build in everything on your wish list except for > a couple of things: > > Unbalanced (phono) inputs only The only reason I can see for balanced > inputs is for a line input to the EQ sections (an outboard option I > already have). Besides, to do this requires more amplifier stages (even > if unity gain) and I want to keep the active stages to a minimum. > > The outputs will be both balanced and unbalanced. -- Richard L. Hess email: [log in to unmask] Aurora, Ontario, Canada 647 479 2800 http://www.richardhess.com/tape/contact.htm Quality tape transfers -- even from hard-to-play tapes.