Levinson 320S Phono Module vs. Klyne 7PX

I have a No. 32 with the built-in phono stage. I bet it is the same stage as that in the 320. While it is certainly an ergonomic wonder (lots of practical adjustments done by remote control), it is not the best sounding stage to me. It presents a somewhat flat soundstage and has a bit of the mechanical, artificial sound to the leading edge of transients that is common to transistor gear. It is not "bad," but I don't think it is quite up to the standards of the linestage itself. I have not heard the Klyne in my own system, but I've heard it elsewhere and I think it is quite good for a solid state stage.

By the way, I currently use an Emotive Audio Epifania linestage with a Viva Fono phono stage (both use tubes). This is not as quiet as the No. 32, but they are astonishingly more natural sounding.

There is a big difference between 100 and 200 ohm loading. Compared to 100 ohms, 200 will sound much brighter, thinner in the bass and more open and dynamic.

When comparing two different phono stages, you must try to optimize the sound from both. That may mean different setting on the two, as well as changing other adjustments, such as the VTA on the tonearm. I find that getting tonal balance, level of sibilance, trading off an open top end vs. excessive brightness, etc., is a balancing act that involves both the loading and the tonearm VTA setting. I would then compare the sound of the two performing at their best.

Each phono stage is different, with respect to what is optimum for a given cartridge and setup. With my ML Ref. No. 32 and Lyra Titan, the best setting was wide open (47k ohm loading) and VTA set low (tail down on the cartridge). With the Viva Fono, I am still experimenting, but it is something like 500 ohms and VTA near neutral (arm parallel to the record surface).

I am surprised that your phono stage only offered 200 and 47k, and the user selection of resistor because the stage in the Ref. No. 32 has far more options.