E-7♭5 with two different tensions

On page 238 of the greatest guitar chord book ever written, "Song Example #7," begins thus

E-7♭5_ _ _ _ _ _ _ _
E-7♭5(11) E-7♭5(9)

The E-7♭5 is from some imagined chart, and the two chords below it are what Bret Willmott suggests you actually play. They are accompanied by top notes determining the position at which you play them. These are also the defining colors of the chords: A above middle C for the first chord and F# above middle C for the second. Per the prescription of the book (and this blog, for the most part) we will only consider 4-note voicings on strings 2-5. First, here's an E-7♭5 that's would work perfectly had Willmott not fancied it up:

X7878X

Starting from here, it would be easy to just move the top note up to A, and then back down to F#

E-7♭5(11, no 3rd) [= B♭Δ7♭5 = F#7#5#9 (no root)]
X(7)(8)(7)(10)X

E-7♭5(9, no 3rd) [= F#7#5]
X7877X

There's one problem. Neither of these chords has the minor third degree which is a defining characteristic of E-7♭5. With 4-note chords, you could define a "Two Tension Principle"

The characteristic voicing of a a four-note chord with two tensions is determined.

This means that, as soon as you've added two tensions to a regular 7th chord (in our case, ♭5 and 11 or ♭5 and 9) you are limited to a single characteristic voicing and its inversions. That voicing will consist of the two tensions and the two guide tones, 3rd and 7th. For a regular 7th chord, the un-altered 5th and the root can be sacrificed in order to add tensions like 9, 11, and 13. Once you try to add a third tension, you have to remove one of the guide tones, resulting in a non-characteristic voicing. That's what we did above; we removed the minor third (G), in order to preserve the root note E. If we choose only characteristic voicings, we have to play the G in place of the E, resulting in an E-7♭5 with no E note. That's fine--the guide tones are more important than the root. Here are the only characteristic voicings I've found that will meet all our criteria. In both examples, the first voicing is a drop-2 and the second is a close voicing.

E-7♭5(11) [= G-(9) = B♭Δ13 = E♭Δ7#11 (no root)]
X(10)(8)(7)(10)X or
X(13)(12)(12)(10)X

E-7♭5(9) [= G-Δ7]
X5537X or
X(10)(8)(7)(7)X