@mijostyn , Lyra cartridges are hand-made, and as humans we can't claim to be infallible - but when there is an issue that could have been caused by our manufacturing, we try to work together with the customer, our dealers and distributors so that the customer is satisfied.
Regarding the Atlas Lambda SL, our cartridge models (more so the Etna and Atlas) are generally manufactured according to incoming orders from dealers which are then conveyed to our distributors. Some experienced dealers are able to gauge demand ahead of time and can therefore deliver when the customer wants a product. Other dealers may be more cautious and not wish to place orders via our distributors until they are sure that they have a firm sale. The availability of a given model therefore depends on the situation.
Regarding transimpedance phono stages, I've used various types over the years. I recall all of them as sounding satisfactory.
OTOH, I cannot recall any of the transimpedance phono stages that I've heard as delivering a revelatory listening experience. (Caveat: it is entirely possible that some of the phono stages that have impressed me have had transimpedance input stages, but I wasn't aware of this.)
The situation with voltage-input phono stages has been the reverse. The phono stages that my ears have had an aversion to have primarily been voltage input, but the phono stages that I felt sounded markedly better than most have also been voltage input. (Caveat: that's with my ears, others may feel differently.)
One must accept that with semiconductor current-input, semiconductor voltage input, tube voltage input (I'm not aware of any tube-based current-input products), SUT input etc., there can be substantially different types of implementations.
Local NFB current input, global NFB current input, complementary input semiconductor, non-complementary input semiconductor (or tube), BJT voltage input, JFET voltage input, tube voltage input, SUT into MM stage with an input load capacitor, SUT into MM stage sans input load capacitor etc.
How the RIAA equalization is accomplished (one-stage active, two-stage active, passive-active, passive-passive, passive with inductors rather than resistors, having an active RIAA network shape both the open-loop and closed-loop response simultaneously) is another major variable, not only by itself, but because of how it interacts with the signal input approach.
Each implementation of signal input approach and RIAA equalization approach will have its unique issues and pitfalls.. that hopefully the circuit designer understands well enough to avoid, or at least mitigate.
Unfortunately adequately grasping the strengths and weaknesses of the various approaches and implementations is beyond most customers unless they have EE training. And even so, there are dedicated books on phono stage design that leave gaping areas unanswered.
Therefore I suggest that the most productive way is visit audio shows, dealers, and other audiophiles until you encounter a phono stage that you really like the sound of. Reviews and forum comments can be useful to form a candidate shortlist, but at the end, it is your ears that need to be satisfied.
hth, jonathan
