New cartridge ideas...

Good options you are looking at. Bigger bang for the buck may be Lyra Delos. Any reason you did not include Hana on your short list? ML may be a good option. Best would be Umami Blue if you can stretch your budget. Even better than Delos IMHO

keep us posted.

I bought a slightly-used Lyra Kleos from a dealer on US Audio Mart, and am quite happy with it.  The advantages of buying a slightly-used cart from someone you trust are the cost savings and the fact that it's already broken in.  The Kleos sounded great as soon as I got it properly set up (and you do need excellent setup skills/tools to do that).  I listen to a lot of classical music, and find the Kleos to have a pretty neutral frequency response; great, natural detail without sounding analytical; and an excellent soundstage.  Before that, I tried a Benz Ruby 2 from the same seller, and my long-term cartridge had been a Monster Cable Alpha Genesis 1000.  The Kleos is clearly a level better than those other two, and I can hear the improved neutrality over the AG1000, which had elevations in the frequency extremes.

Good luck finding a used Kleos, though.  I doubt there are a lot about.

I'm not familiar with your current cartridge or others that have been mentioned, but the Kleos has gotten much praise from critics and Audiogoners.  One practical thing I appreciate about it is that the cantilever extends out beyond the front of the body, and that aids in cuing a record.  So many other cartridges don't have this.

I decided to upgrade to a Zyx ultimate Airy x/sb low output.  I really like the Zyx sound and arrived there after trying several other cartridges out.  That is why I eliminated some outright.  I may try to find a Kleos to try also.  Zyx is just so good for the $ if you like that presentation.  

So the question I always ask when a customer presents me with a "cartridge sales opportunity" is how comfortable are you with having optimized your setup?

I don't mean merely setting geometry, nominal tracking force, VTA, etc, but tuning, tuning and then tuning some more. 

I lose quite a few sales when customers report an improvement.  Why do I do this (smile)?  Then again, some customers like to write a check to me and pray.  My starving pets are grateful ;-)

... Thom @ Galibier

@thom_at_galibier_design 

'Optimised' In relation to a TT > Tonearm is my go to word. The word has been a key word presented to me and adopted by me for many years now.

Creating an environment for the Stylus to be able to perform its role, where the Kinetic Energy sent from the Stylus contact with the Groove Modulation, as the Modulation passes the Stylus. Is at its 'Optimised', when the Stylus sent energy is as unadulterated as can be produced at the moment it is converted to a electrical energy to be transferred to undergo various processes to increase Gain.

It is plausible to state the only adulteration to the sent kinetic energy, should be the result of the Stylus Shape and other Materials used to produce the Armature Assembly.  

If the conditions (set up for the TT > TA > Cart' ), put in place prior to the Stylus being put into service are not close to being optimal as a set up. The conditions put in place Post the Stylus being in service ( Conversion of Kinetic Energy into Electrical Energy and Ultimately Sound being produced ), will contain electrical energies not solely produced by the contact between Stylus and Groove Modulation. The Facsimile produced and sent will be an adulterated / corrupted information.

I don't sell anything Audio Related as a Vocation. I do have a arsenal of devices collected over a long period of time to assist with improving the mounting of a TT.

I also have TT's that have undergone procedures to reduce the energies that are typically created through the TT's mechanical function, which are transferred to the Stylus.

Where my experiences really pay off, is that I am not a lone locked away in a room Audio Equipment Enthusiast, my main time around Audio Interests are a Social Activity. I spend most of my time at meetings arranged for Groups to get together. I have been able to demonstrate on many occasions how a different material / assembly of materials used under a TT, or between Platter and Album can discernably change the end sound being produced. The skill is being able to discover the correct permutation of materials to work in conjunction in a particular environment, there is not a ubiquitous solution. 

Most recent experiences had, with my limited experiences of using Phenolic Resin Impregnated Densified Wood Boards, is that this Board Type is starting to seem to be ubiquitous in how the material can create an improvement when used as a TT's Plinth, Sub Plinth and Sub Sub Plinth. This is the Material I am now most interested in since my earlier discovery of a Highly Compressed PUR Foam Board Material that had mechanical properties and weighed 700Kg / m3.