Is there usually a dramatic difference between $5k and $10k cartridges ?

Late to this party, but when I acquired my Lyra Etna ($10K), it sounded amazing compared to everything I had before it.   Not saying that there’s causality (high price —> superb sound), but in my case it was exactly that.   

Bugatti is real bad for the ecology. But if you must engage in this BS it's not any Italian, it's Koenigsegg. You know how to drive, anyway ? It's quite different from comparing cartridges.

Exotic $$$ cars & $$$ cartridges=terrible comparison.

Is a Bugatti Veyron/Lamgborghi Veneno/La Ferrari ,REALLY "better" than a ...Lexus LFA?

https://m.youtube.com/watch?v=5gmkykQOEIE

In my post, I didn’t mention Lexus worked with Yamaha’s audio division to perfect the LFA’s 9000 RPM scream.

I have experienced a couple of random  LFA sightings and it sounds like a  Formula 1 engine with the intensity knob turned down.

https://blog.son-video.com/en/2024/11/lexus-lfa-x-yamaha-the-roar-of-an-angel/#:~:text=The%20Lexus%20LFA%20supercar%20is,designed%20in%20collaboration%20with%20Yamaha.

I have purchased about fifteen phono cartridges over the last dozen years, all new, in all price ranges. Among them are Benz (I once hoarded Glider SL's when they appeared scarce), Ortofon, Soundsmith, Van den Hul, and Lyra. My profile shows my two tables-both with Reed 3P's. Phono stage is a Manley Steelhead. 

My humble two cents is that like most of audio, beyond the sweet spot the incremental improvement is very subtle. To get to the sweet spot though you must have optimum set-up. I have already hinted at this, but to my ears in my system and thus highly individual, I love the Benz Glider SL as being a champion at the pricepoint and YET, all four of my Gliders are in long-term reserve and my Ven den Hul Crimson Strad XGW and Lyra Etna are my current daily drivers. 

In very general terms, as you go up the scale in a given producer's line-up you get a little more micro detail/resolution and a little more micro-dynamics. Soundstage width and imaging tend go up as well. 

All that said, you can easily fall into the pit of getting too hi-fi and not any happier. For example, on some recordings the Lyra Etna on my 10.5 Reed 3P can border on analytical and ever-so-slightly cold. I can then take that very same LP and place it on my other deck with a 12" Reed 3P and the Van den Hul and the "porridge is just right" with the tone and warmth restored that was lacking with the Lyra. The Lyra Etna is always faster in every respect-transients, dynamics, overall presentation.

Besides my beloved Benz Gliders which simply check the boxes in every category at a very reasonable price, my other go-to sweet spot for the money is the Ortofon Cadenza Bronze. I am of the highly individual subjective opinion that both the Benz Glider SL and Ortofon Cadenza Bronze, properly set-up, provide 95% of what is attainable at 20% (or less) of the top-tier pricing. 

No one on this Board is more knowledgeable and reliable on this subject (again, IMHO) than Mulveling. Listen to his advice and not mine. But one thing that I do think I know is that as you go up the hierarchy you are more likely to be losing out on all that is achievable without expert set-up. I can set up and get most of what is possible with the Benz Glider or Cadenza Bronze on my own using just the SmartTractor alignment tool and a Fozgometer, but for the Ven den Hul and Lyra, I received good return on the investment by having Brian Walsh do my set-up.