Is It Time To Sell My Vinyl Rig?

Let's say you get lucky and get $3,000. total. That's a lot, and it ain't a lot.

Let's go back to your setup? You mention Mono LP and Stereo Streaming. You mention a TT with a single tonearm with a Mono Cartridge. 

A removable headshell I presume, with Stereo Cartridge mounted, ready to switch with the Mono headshell.

I did that for a while, however, it is a formula for pretty good, but not great. Each headshell switch involves changing MANY critical settings: and for Vinyl to sound superior, they ALL need to be very carefully correct. This presumes some tools and acquired skills, and time/listening/refinement, far from easy, far from quick.

That led me to two tonearms, Stereo Arm/Cartridge very carefully set; Mono Arm/Cartridge also refined setting. Now, switch Stereo/Mono LP's in seconds during a listening session. 

Eventually, I realized, I could squeeze in a 3rd arm, for MM, to avoid wear to MC non-replaceable stylus for 'keepers' that are not so well engineered, the band's songs were great, but their musicianship not too special. 

So, what to do? I say, keep what you have, refine your skills and very carefully setup for your Stereo Cartridge, compare that to your Streaming.

btw, what Stereo Cartridge are you using? MM or MC? Stylus perhaps worn?

OK, now I understand what you said, and asked, better than initially.

Not comparing Mono to Stereo, it's just that the former thrill of the hunt and find is gone, AND you are streaming happily.

SO, why keep the Vinyl rig?

I now say, keep the LP's, sell the equipment, get the surgery.

IF you ever go back to vinyl, I highly recommend you go for a TT with 2 tonearms, have Mono and Stereo available instantly. 

btw, it was pointed out here, and I find is true: they sound better if you play your Mono LP's thru only one speaker.

The improvements of a Mono cartridge and now a single speaker, is the improvement in the distinction of individual instruments, not imaging, but awareness of the Trombone, trumpet, ...

For me, and I have to suspect others, part of the fun of these older LP's is to hear the greats when they were young, their development thru time, thru various collaborations, the development of what bacame their signature sound ...

I'll say it again for others who have not heard good Mono: the engineering and recording techniques in the late 40's and early 50's were quite good. All the great mono equipment, speaker systems developed after WWII were not to reproduce noise, there is a lot of great mono music!