How do I choose a phono preamp?

Just buy the Allnic phono stage that fits your budget and forget about it. Enjoy the music

I have many albums that I purchased back in the 80s that listened to once.  I had a Nakamichi RX-202 back then and would record the albums on the first play and set them aside.  Over the past two years, I’ve also purchased many albums from Acoustic Sounds that are still sealed.  

@lewm - yes, the CLS-1 is great.  Have had them for over 30 years and keeping them forever.  

Given the comments/questions above. I can see that there is still much I need to understand.  I’m not one to buy buy a "rookie" setup and then move up.  I prefer to just get the end game setup and be done with it.  

I’ve looked at VPI and Dr. Fiekert because I have dealers near me. . .I want the setup to be simple.  Streaming had made me lazy, but I still romanticize about vinyl (it’s kinda like wanting a stick shift even though automatic transmission is available).  Not sure that I want to fiddle with two tonearms--I don’t know why I feel that way, but I’m open to suggestion.  

How do I select a cartridge? Is there something I can read to learn all of this stuff? 

where do you live?

If buying a used TT, close enough to listen to/avoid shipping risk/cost pick up would be a great advantage

I used my McIntosh Stereo/Mono switch for years, and I thought it was ’good enough’, 

I learned here that a True Mono cartridge is better, tried it, and discovered it is without a doubt true, depending on the LP content and condition, it can make a little/lot/whole lotta difference. Less noise combined with improved definition of individual instruments make a far more involving experience.

Everyone who listens here easily hears the betterment. Like me, they previously thought their Mono Mode was ’good enough’. You owe it to yourself to hear it for yourself. 

IF you get into Jazz, so many great musicians/singers were active in the late 40’s, early 50s, when Mono recording techniques were quite advanced, then both Mono and Stereo were made for a few years of transition, then Stereo, now new Mono’s, that’s not for me, but for some.

I grab a few Oscar Peterson, Miles, and within seconds simply change to ’C’ on my SUT to play a Mono LP in the middle of a listening session with an AT33PTG Mono boron/line contact, then back to B for my AT160ML MM with beryllium/microline tracking at 1.25; then perhaps use A for MC AT33PTG/II boron/microline tracking at 2.0g, or perhaps my Sumiko Talisman s MC with sapphire tube/van den hul. I change tone arm selection and different gain/impedance with face mounted selectors on the SUT I so luckily chose. That is a big part of my flexibility.

I listened for many years with one favored cartridge and Stereo/Mono mode switch, it was darn good, but if going to invest a decent amount of money, you can set yourself up to experience readily apparent differences.

I got here with some dumb luck, but now that you are smart enough to ask in advance, think long and hard, the potential to add a second arm is fundamental.

friends bring their cartridges here,

I can lower all 3 arms and maintain speed, and we can compare 3 different cartridges, just seconds apart (after I make some temp volume adjust marks). I listen with friends, and younger ears, to avoid 'expectation bias'.

I just met Charles Kirmuss at the NY Audio Show. He says it is unwise to play an LP again prior to letting the grooves cool overnight. I know the forces involved are tremendous, ....... so maybe I'll start on 3 different tracks on the same album, what to believe?

https://kirmussaudio.com/

I have that Goanna LP, Live Aid started in the middle of the night here, I set my VCR, it began in Australia, I heard INXS, Goanna, Dragon ... found and bought some LPs.

It seemed to me like US Garage Bands starting out, but with better/more affordable equipment.