It was Performance DC with MM cartridge
The combination that’s brought me the most please has been the P3/DL 110. It’s not the best , but it’s certainly the most soulful, as you say.
I think Rega knows where the soul in music is 
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Lenco L78SE with Shure M97XE cartridge
Revox B795 
Linn LP12/SME 309/Benz Glider for stereo, Nottingham Analogue/AudioTechnica 1005/Audio Technica mono carrtidge for mono and Technics SL 150 direct drive currently waiting for an arm and cartridge. Whest RDT30 SE phono amplifier.
Regards.
I have two; a custom built ARB with custom buy ARB tone arm - lovely thing and all machined by a chap in his shed.
Then for mono duties (mono recordings played with a proper mono cartridge sounds just magnificent) I have a Leak Transcriptor 2001. Wonderful thing that uses something akin to breast implants as the isolation. You can tap the casing really quite hard with no vibrations transmitted to the arm.
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After almost 40 years, I still have PTSD:
Post Turntable Stress Disorder
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Acoustic Signature Storm MKII (Kuzma/Koetsu)
Upgraded from an Acoustic Signature Final Tool MK II (Jelco/ZYX Yatra combo), which replaced a Sota Saphire w/electronic flywheel. Rega P3 before that & I’ve had others…Turntables…my favourite piece of audio gear. I just love the engineering, which to a large degree is visible!
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All these beautiful turntable setups put mine to shame. I have 3:
Rega RP3 with Ortofon 2M Black and Avid Pulsus preamp
Rotel 1990s vintage with Ortofon 2M Bronze and Project Tube Box SE
Pro-Ject Debut Carbon with Ortofon 2M Red and Yaqin preamp
My 13 year old has just started to ask to be able to put on the vinyl, and he looks like a first time dad changing a diaper on a newborn. So great to watch the next generation of music lovers.
I probably have 2500 LPs and use Roon 95% of the time, but VIVE LA VINYL !!!
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I am equally insane.
My den/office:
Thorens TD-126 and TD-150 (PS Audio Stellar Phono Preamp)
My living room:
Thorens TD-121 (Van Alstine Vision Q Phono Preamp)
I only have around 700 records, but I’m having a great time adding to the collection. Or, I was, before the Great Distancing of 2020.
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At 72 years of age, I have zero desire to return to vinyl. I’m not going back to the future. Eight-tracks, maybe.
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Like books made of paper, I love seeing everyone’s libraries.
But yeah, it’s inconvenient and hardly efficient. But then, I still drive a stick shift.
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Stick shift is normal in the UK… That’s where the fun is 
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Here’s my DIY turntable, the Balrog. It’s still disassembled since our latest move. Well, not the 700lb granite and steel base, but all the stuff bolted to it is still boxed up.
The platter/bearing are from the VPI table I bought in the 1990s. I had a Dual before that. I recently got an unassembled kit of parts for a Teres table from an old friend who bought them around the turn of the century. I mean to replace the VPI parts with the Teres.
Always been a fan of Poul Ladegaard’s air bearing tangential tonearm made from hardware store parts. (English translation of the 1970s Danish article here.) I might buy the derivative TransFi Terminator tonearm that follows the same principles soon.
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Bloomin 'eck!
In the US a manual transmission is the best theft deterrent there is
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How true are the digitized copies, energy and soundstage the same?
It was very hard to tell the difference between the original and the digital copy. I thought there might have been a slight loss of clarity in the process, but my wife thought there was no difference. The guy at my Linn dealer who sets up turntables said the recordings sounded just like an LP12.
In an DSM/Exakt system analogue input from the turntable is converted to 192/24 digital as a matter of course (some people have baulked at removal of the analogue preamp, but I saw it as an upgrade sound quality wise). I used PC software called Songcaster that captures the digital system from the DSM.
Oof. That is top shelf material there. Bloody gorgeous.
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I noticed that when I was looking into getting a Selekt DSM recently. I know Linn likes digital but isn’t that going a bit far? A lot of people are willing to spend more on an LP than the 24/192 file because they think it sounds better. (People also prefer DSD to PCM because the latter resembles an analogue signal more closely.) All that extra cash is kind of washed down the drain when you use a Linn, ins’t it?
It’s the mastering that counts not the format.