Ortofon Anna or Transfuration Proteus?

I am somewhat wary of generalisations which rank audio components given the infinite variables involved and this is particularly true for a phono cartridge . For example , how many analog aficionados can truly claim that their tone arm wire is optimally burnt in given the small mV that a cart generates. Add to this , cart alignment, loading, TT speed stability, isolation, VTF and how it's measured, VTA and the list is pretty long if you get my drift. I can be pretty confident about some of these issues in the context of my own system but I am not sure about any other system. YMMV.
Sure anyone serious about this hobby can judge good sound but can you with some modesty pinpoint the causes for poor performance and identify the components responsible. IMHO , if someone characterizes a cart as sterile while the majority of ownership experience points the other way, I would not be swayed by the minority experience.
Just my 2 bits.
Disclaimer: Atlas owner

Easy enough to burn in tonearm wire. Just get 2 make RCA jacks. Solder some solid core copper wire to them of a sufficient gauge to fit into yout cartridge clips. Plug those RCA jacks into the back of your CD player, the new solid core wire into the tonearm clips, and the TT tonearm interconnect into an AUX slot on your preamp (not into the phono stage).

Put your CD player on repeat for a week, and you will have burnt in your TT tonearm cable and interconnect far better than you will ever achieve by playing records.

Pradeep - point well taken and absolutely accurate. Much is system dependent, but with analog not only that, but set up dependent too. I have heard the Atlas three times - twice it sounded a little lean and sterile to me. That was on an SME table in an all tube system and another with a Feikert Blackbird table and solid state. I also heard the Atlas on an all ARC system with a Brinkmann table and it sounded very different and more liquid. Overall, I felt it might lean toward the 'more detail - less liquidity' side of the fence in most, but not all systems. I'm confident it was set up properly on the SME table (I set it up!) but who knows on the other two tables.

But again, that was in three different rooms, in three different systems at three different times. The best thing people can obviously do is go out there and make time to listen when contemplating a big purchase. We all hear a bit different and lots a variables are involved.

Disclaimer- I'm a dealer and sell these products!

I have your arm, table and cartridge and am very familiar with with that combination but not your SUT. I'm familiar with your Shindo too but don't currently have one. The Proteus isn't a good match with either your Garrard or the Ortofon arm. It will be too dead. I love the McAnna but I think its somewhat of an overkill for your 301+309 combination and a waste of money. I like the 301 very much but its not the last word in resolution and either the Winfeld, Cadenza Bronze or Black are better suited to your setup. Alternatively you can buy the SPU Classic which is livelier and more musical than the soft sounding Gold, not one of my favorite SPUs and a bad match with the Shindo.

Feel free to check out my systems so you know where I'm coming from.

david

Phil
Thanks. It is certainly not my intention to question or invalidate your listening impressions. I have no quarrel with the statement that cart "X" sounded sterile in a particular system. That is a valid empirical observation. I do have a serious problem with the inference that can follow, namely that cart "X" is a sterile sounding cart.
David
Completely agree that the Proteus, Garrard 401 and 309D is a very ordinary combination. The 309D is best with cartridges that tend to be fast and agile. I am getting superb results with a Lyra Atlas. The newer SPU should be a great match.
Best
Pradeep