I will follow this one cause I am doing the same thing, so far no good reviews in anything I had found.
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One of the cheaper solutions is an Apogee Duet (~$300) with an aftermarket breakout cable. Cables are available as a special order from bluejeans @ about $30. If you go this route, be sure get a cable that is purpose built for recording and not a dual purpose playback/recording cable.
And as a special bonus the ADC comes with DAC which is none too shabby. I use it about 80% of the time even though it is sitting next to a Paradesia from MHDT.
There is a a catch... this is a mac only solution as the duet interface is firewire.
I have had great success with (caution: this is a very expensive route):
Analog signal via XLR (I used RCA to XLR cable as the Steelhead only had RCA outputs) to Apogee Rosetta 200 (using its A/D converter), then digital XLR to XLR to Tascam DV-RA1000 recording 24/192 to DVD - you can also go to DSD via DVD, but need to use the Tascam internal converter (the newer one has a built-in hard-drive) all connected to a Big Ben master clock.
I then reversed the signal all the way from DVD via Tascam through the Rosetta D/A into the analog input of the Steelhead for playback. Sounded close to the original record, but not exact.
I now have Esoteric D05 and can play the DVD through the Tascam into the Dual XLR at 24/192 (using the Big Ben) and the recording is sill satisfying. My table was VPI SuperScoutmaster/SuperPlatter with ZYX UniVerse and the ZYX step-up into Manley Steelhead, so clearly not the best system (but probably above average). I have not tried using a computer hard-drive to see if there is any difference (the Big Ben can take an optional Firewire input and can output dual XLR 24/192 along with a clock signal - problem is I think the driver is XP).
I played the 24/192 recorded versions of the direct-to-disc "For Duke" and MFSL "Four Faces of Jazz" and prefer those to the gold CDs; 24/192 is more enjoyable but not as clean and clear, which I attribute in part to the veil of the Steelhead and, surprisingly (at least to me), the Wireworld Gold digital XLR cables (which initially, back in the day, wiped the floor with the twice as expensive Kimber Kable silver digital interconnects that had a thick veil to them; but with the critically revealing Esoteric combo, the "lowly" Apogee Wyde Eye digital XLR cables (not even broken in - I had a pair sitting around and connected them for giggles) made the WireWorld cables sound more like a blanket than a veil - I will give Zu a try some day). So, I think the recorded sound can be vastly improved with the right equipment and interconnects. In any event, the recorded sound was close to the record when played back on the same equipment, which is probably what you are looking for. Only a more revealing system allowed me to hear the veil. There are certainly less expensive routes, but they may end up causing fatigue and disappointment.
I ultimately sold the analog front-end and listen exclusively to digital (the Esoteric is that good, and what I have is near the bottom of the line these days). What really sold me on the digital path was hearing every drum beat and cymbal clearly made by Ringo on every Beatles song listening only to a $9 used CD (I did not buy any Beatles records). Needless to say, along with that and hearing full separation, I have a new found respect for that band and the recording techniques used at the time.
It was easy to download the recorded DVD to files on the computer even at 24/192.