Cartridge options going forward

raul

" Btw, @elliottbnewcombjr you have no idea about the quality performance of cartridges like the Etna levels."

...........................................

I’m simply saying: channel specs as well as magic need to be combined.

your suggestion, shibata on boron

https://www.audio-technica.com/en-gb/cartridges/line-series/art-series/at-art9xa

my example (not a suggestion for OP), microline on boron

https://www.audio-technica.com/en-us/cartridges/line-series/at33-series/at33ptg-2

IF they has an SAS version, I might have chosen that, but extra cost/extra life would need to make sense for me.
.............................................

you are very right, and somewhat wrong.

mine solely an example of desired features: strong channel separation for improved imaging and tight channel balance for very solid phantom center image as well as consistent frequency response within range and locked in balance l/r for large orchestras ....

separation/balance specs of your suggestion and my example are the same, internals, body material, body threads differ as well as the stylus shape choice. Me hear any difference? I seriously doubt it.

I didn’t mention it, but I also have preferred range of both tracking force, and signal strength. And, proven better or not, I will not go beyond the stiffness of boron. AT seems to agree with me. I had/fartted in Beryllium’s general direction/looked sideways at/broke my Beryllium Shure V15VxMR stylus,
..............................................

you are Very Right:

I have never owned or had prolonged experience with high end cartridges,

My top choices over the years have been/are Shure V15VxMR (now with new Jico SAS on boron); AT440ml (currently on my office TT), my first MC the AT33ptg-2 linked above, ML on boron; Shure 97xme my favorite elliptical; and current Grado Mono.

New AT MC moved the Shure to second place primarily because of it’s wider separation and tighter channel balance, easily revealed by my often recommended tracks with 3 guitarists, Eurythmics, Cassandra Wilson, ...

,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,

you are Somewhat Wrong (I do have ’some idea’):
(below: the lady doth protest too much)

Not to prove, just to let you know more about me when you read my opinions hither and thither.

I have heard many stratosphere cartridges for long listening sessions/evaluations: wealthy audiophile friends; wealthy client friends (I designed Corporate Office Headquarters), including deep pocket enthusiasts from Columbia House, CBS, Sony, and many others, some I helped assembled complete systems.

Not cartridges, but related experience: I worked with several AV consultants designing AV systems for my client’s Boardrooms, Auditoriums, conference/dining rooms, present for evaluations/refinements with professional sound meters. My friend came to my past and current house with pro sound meter a few times when I changed things around.

Electrovoice engineers (still in NYC then), my AV friend, and I designed my new enclosures together for my 3 way speakers (all electrovoice drivers from 1958:15" woofer, horn mid, horn high)

I worked in NYC for more than 40 years, 18 on 44th street, between 5th and 6th avenue. Leonard Radio, in it’s high end days in my building (old Hammond organ showroom I helped them renovate). I cut thru a building mid block, onto 45th street Audio Row, NYC, Harvey’s in it’s heyday. A lot of my equipment over the years (and many pieces on semi-permanent loan to friends) came from Harvey’s used shelf. My friend at Harvey’s would call me when something nice taken in trade came was coming out of the service dept for sale. My friends would have time to listen for long periods, then suggest I hear .... TT, cartridges, primarily speakers.

Read magazines like a fiend, reviews, head for Sound by Singer (both locations) (I did not like Andy’s attitude), Park Avenue Audio (also snooty), .... went to the great audio shows in NYC when/if controlled listening sessions could be contrived.
...................................................

My take on the pricey stuff: If it makes you happy each and every time you look at, approach, use it, know about it’s superior ......, your emotional state is primed for an enhanced experience. A compromise will always sound like a compromise IF you think you are not getting ......
...............................................
Relative Importance of Cartridge:

After achieving a very reveling and involving system, including speakers you will never replace.

A phono stage you would never think needs changing.

IF MC, I think SUT to that phono stage best (but I have only done that).

TT: Plinth, Location; Spinner; Arm(s); Arm length(s), Arm features; and especially personally acquired alignment tools/skills must come first.

Then, put what on the end of the stick?

jperry1

Aren't you kind to strangers. what compels you to make such a helpful and exhausting addition?

As I said, he is "Very Right, but Somewhat Wrong".

"(below: the lady doth protest too much) "

line from Shakespeare was a clue to stop reading.

"Not to prove, just to let you know more about me when you read my opinions hither and thither."  

that's not justifying an opinion, that's sharing who I am. thanks for your kind words in response, who are you?

several of us frequently comment on each other's contribution, and raul has specifically helped me in making decisions related to my major TT upgrade this past year. So, publicly I thought I would let him and anyone curious know a bit more about me. 
..............................................

I've said it many times, I write answers to share with 'the multitude' I imagine might be following a thread. Many people, here, camera forums, stamp clubs .... join, follow, read, may not write anything ever, or for a few years, but they learn, even watching family squabbles. 

mtwilke, Your tonearm is just fine for any middle to low compliance cartridge. In their literature Lyra was referring to uni pivot arms which are not OK. Your's is a knife edge bearing which has absolutely no torsional instability. Unless you have a very high gain and quiet phono stage stay away from the LP versions. If you listen primarily to rock the higher output versions are also better.  

OP

Now, we assume we cannot audition in person, however, I would call and see if private masked disinfected listening can be arranged, you might get lucky.

luxury of time

I always try to have an acceptable spare (amp, tube, tt, cartridge) ready that allows the luxury of time when evaluating/making/waiting for the best 'real' choice. Seems you are caught without a spare this time.

When you eventually try something in the price bracket you are seeking, you might be thoroughly happy, done, congrats.

or, if not 'it', then that becomes your acceptable spare for the future, money not wasted, never again limited by being without a cartridge, use it with the luxury of time for your next eventual change.

Of course, once you buy something new, love it, or mostly love it, if you then rebuild the Etna, there's your acceptable alternate, or it goes back to primary. I still advise asking Steve for his input before moving forward.
...................................

I'm retired, quarantined, curious, I hopped about, spent some time skimming Stereophile's lists

https://www.stereophile.com/category/phono-cartridge-reviews

It mentions two Etna versions, standard and lower output SL with veryyyy low impedance, I'm  just curious which version you have.

https://www.stereophile.com/content/lyra-atlas-sl-and-etna-sl-phono-cartridges

Elliott