I’ll bet it does 
Given Lyra’s “completely safe” declaration as posted by Rooster would Lyra not have recompensed you? I’m aware that Linn washed their hands - presumably not in SPT!
Oh yes
Linn Goldring and Lyra washed their hands thank you very much
Hey ho you move on it’s only hi Fi 
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On the advice of the cartridge manufacturer, Lyra SPT can be used, as directed in the instructions, on Linn cartridges with solid boron cantilevers. It should not be used on any other Linn cartridges. Please contact your Linn retailer for further advice.”
[/quote]
This paragraph was the one added after some Krystal’s were destroyed
Mine wasn’t the only one sadly
I saw what happened to yours before I bought my Krystal so I never use fluid like I did on the DV10X5.
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Wish I’d not chosen the Krystal.
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Not happy with it?
Not really to be honest.
Probably should have gone for a Dynavector instead.
It’s (Krystal) a lovely cartridge , but I just think I’d have been better off with a similarly priced Dynavector due to system balance/synergies as it sounds too bright with too much surface noise which I think is due to the aluminium cantilever.
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Dynavectors are so easy to get along with. I’ve had 20x2 HOMC many years ago. Now I have XV-1s. They are a joy to listen to.
I am making a a bit of a leap of faith going to a Lyra, but if I don’t get along with it for some reason I can sell it on again. However, someone in the music production business I know and respect uses one to evaluate test pressings, and we like the same music, so I feel confident about making the switch.
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If you want rid of surface noise the Karousel does just that! 
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Unfortunately I have one!
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I had two Krystal’s with hundreds between the serial numbers and both were faulty.
My dealer pointed out the first fault when installed.
If you want the Kandid signature without huge expense “ in first world terms “ I’d recommend Lyra Delos.
Especially with hindsight.
Hope this helps 
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Given the multitude of complaints about the Krystal, I’m curious about the Kendo. When I first got an Akiva, I had the feeling that this was the first Linn cartridge that I was entirely satisfied with. After my second one died I traded it in for a Kandid. I now wonder if a Kendo would be as good as or better than an Akiva, which would be a worthwhile saving in running costs.
Of course, my thoughts also swivel in the other direction i.e. that, following source-first principles, the best place to spend money is at the front end, in other words, consider going from Kandid to Ekstatik.
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That’s a pretty big leap of faith to move away from Dynavector, especially if you’re using an XV-1s.
I have had two XX2-MkIIs in the past, and I had a Te Kaitora Rua fitted to my LP12/ARO early last year, although circumstances have intervened to stop me hearing yet what it can do.
Dynavector cartridges are not cheap by any means, but they cover a very broad price range, and I think that they provide good value for money, particularly compared to some of the stratospherically priced alternatives out there.
They also tend to look the dogs’ doohdahs - which is always good, if you’re a shallow individual!
The Lyra I’m getting will be fine. It’s the Altas Lambda SL, their top of line, and more than twice the cost of my XV-1s.
I use an Ekstatik and there’s no vibrating cleaner or liquid going anywhere near it. That long cantilever scares me. Green paper is my only tool of choice (as per Linn recommendations)
Having said all of that I very rarely have to clean the stylus as all my vinyl is deeply cleaned by Degritter and there’s virtually no dust or detritus to pick up in the first place.
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Lovely plinth. The Ekstatik is a beautiful looking beast too. Did you have a Kandid before and, if so, how big a step up is it sonically? I’m tempted once my Kandid goes beyond its sell-by date
I upgraded to Ekstatik from Dynavector XX2 which I’d had for 7 years. It was a massive upgrade from a great cart that is no slouch to begin with. The main improvements have been in instrumental separation and bass performance.
The only thing I had to be aware of was to be patient during the run in period. It took around 90 hours to become fully fledged but once it was there it has been astonishing.
I haven’t owned Kandid but I did choose XX2 after auditioning Krystal , Lyra Delos and XX2.
I had a long hard think about the wisdom of dropping so much money on a cartridge and there was a bit of buyer’s remorse but that is long behind me now. It’s a wonderful piece of kit.
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That’s a very weird picture @gthack . Absolutely NOT how to use the green paper (!) and highly likely to cause cantilever damage. Only ever hold the paper flat under the point of the stylus and draw it towards you only (simulating the direction that the diamond travels through the record grooves). Hold the paper only by its front edge between your thumb and forefinger so that upwards pressure on the stylus is minimal as the flex in the paper will limit how much pressure can be applied. I always leave the volume on the amp up sufficiently that I can hear that the scraping is not too heavy. Used this way it works really well.
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The Linn instructions further up the thread suggest folding the green paper, and pulling the stylus tip along the “v” of the fold - at least if I read them right. Though didn’t describe what sort of angle to use. That’s kinda why I asked how others use it. I’m guessing that method puts some of the paper in contact with the sides of the stylus tip, even if nowhere near as much as the picture I included erroneously shows, or puts the edge of the paper in direct contact with the cantilever!!
I have used green paper in the way you and @graham55 describe, many years ago. In the end I moved to a stylus brush. Together with the recent addition of a Humminguru RCM, that seems to keep things audibly ok. I admit I haven’t used any way to inspect the stylus properly, to work out if what I do really does keep things squeaky!
That image of the missing stylus elsewhere in this thread is painful though, so definitely worth being aware of what can go wrong, particularly if a manufacturer recommends for or against a particularly method