Phono pre for Technics SL-1000R (Esoteric E-02?)

A DIN connection from the base of the tonearm is no obstacle to a balanced input at the phono stage.

Since the output from the cartridge can be treated as balanced, why not just put XLR connectors on the ends of your phono cables?  (You do need to use cables that provide two wires for the audio signal and a third wire for ground or if no third wire, which is not necessarily needed, you just connect the shield to pin1 of the XLR.  Pin1 is ground.) Does your tonearm terminate in a DIN connector from which you run a cable with female DIN at one end and RCAs at the other?  That's easy to change.  If you contact me privately, I would be happy to help.  I am stealing the thread by going off topic.

I bought the MA240s in "kit" form from Ralph back in the late 90s.  My pair were among the last ones he made, and I wanted to assemble the circuit such that each 6C33C could be separately biased, which required 3 separate driver tubes, one for each pair of output tubes.  At that time, I knew very little about circuit design or tubes or how to read a schematic, even. But I found a local guy who put the amplifiers together for me.  (MA240 essentially equals an MA2 with 6C33Cs instead of a gaggle of 6AS7s.)  Then I started studying tube electronics from books and with input from anyone who would talk to me, including a lot from Ralph.  Over the years I have made many further mods, including I have now reduced the output tube count by using four 7241 triodes per channel, instead of six 6C33Cs.  Gives about the same power but requires fewer tubes all around.  My Sound Lab 845PXs are modified as well.  Sorry for off topic.
I don't think your problems with RFI are likely to be due to something in the MP1 circuit.  Ralph makes a point about the fact that his units are relatively cable insensitive.  I've certainly never had a problem with hum or RFI, and I don't use megabuck cables; I make my cables in fact.

Since I have owned and used an atma-sphere MP1 for more than 20 years, with upgrades along the way, of course I also endorse that unit as being superb. But I thought the OP wanted at least two and maybe three phono sections on one chassis. This the MP1 cannot do. Several years ago the designer of the DSA phono II brought his unit to my living room and we compared it to the MP1. For that reason I can say that the DSA phono II is excellent. However, it is costly.

“DSA Phono II” is correct.

DS Audio phono2 has 3 completely discrete stereo phono circuits on one chassis. Independent gain and load settings for each. SE or true balanced output for each. Mono switch for each. Cost no object construction. Superb SQ.

edit: Sorry, I have the name of the manufacturer wrong, apparently. I am currently making an inquiry so I can supply the correct name. I only know that the model is called the phono2.

As Chakster is trying to say, and I think you got it, the cartridge needs to be a good match for the tonearm, in terms of its compliance and the tonearm effective mass.  Likewise, mate the phono stage to the cartridge, in terms of the cartridge internal resistance and signal voltage output and the gain and input impedance of the phono stage.  Beyond these needs, there is no rule for mating a cartridge to a turntable or a phono stage to a turntable.The turntable has a very simple job to do: rotate at a constant speed and not resonate.  (I know there's more to it but that's the basics.)