Dedicated Vinyl system next upgrade?

paul, as others have said, you have great gear already

your room is probably what is holding back the sound the most, but you have stated your reticence to treat/alter

given this, you would need to speak precisely and specifically about what you would like to improve about the sound as it stands now, to get any useful ideas on what to change in terms of the hardware

you mentioned occasional brightness, but how occasional, and how troublesome?  b&w's will give you that sometimes, no doubt

@mijostyn thanks for the thoughts. I am not super technically versed in some of what you said but regarding your comment on upgrading the tonearm to the Zephyr, how do I know it will be compatible with the Concept table? Is this something I can install myself? The Zephyr is roughly the same price as the entire Concept table. Should I be looking at selling the concept table and applying that to an upgraded TT alltogether? 
@jjss49 yeah I know the B&Ws are a bit on the bright side. It really does depend on the recording in regard to how often/troublesome the highs get. 

You're in the dreaded "it's good, but what's better?" zone.

Endless advice from A-Z. Consider just  playing  clean records and open a beer.
Replace your cartridge when it wears with something different.

When you hear a REALLY good system, you realize just about everything needs to be upgraded.

@tablejockey 👍 totally agree. I think my best bet at this point is to look into finding a cartridge that’s more compliant with my tonearm. Not sure how long the Hana SL will last. Will I hear an audible difference and know?  I’ve had It for about a year and listen on average an hour a day. So I have 300-400 hours of wear on it now. Still sounds amazing!

mijostyn. It is good that you like your setup regime of SRA. There is always room for improvements.

For me is that a suboptimal procedure and explains why you do not put that much care in my opinion to it that it may deserve.

Don't get me wrong I also have a USB microscope laying around. The SRA regime you use I call it for the Michael Fremer method.

I am more in the Peter Ledermann camp of method. There we adjust the SRA during when the record is playing. There is a difference between when like Michael F put down the stylus at stand still in stasis.
If you adjust to 92° at stand still and then when you are done, play a record that will put friction and grove modulation on the stylus then you will no longer have 92°.

The dynamic adjustment that Peter L is using is then to do the final fine adjustments by ear.
Now there will a micrometer precision instrument come handy when adjusting the tone arm height on the fly, while you play the record. There is information online on what to listen after and what albums and track to use.

During my years of study how the best do their setups I have learned that there is usually several ways how to go about for adjusting each setting/parameter on a TT.  
 
So that is why I believe that making sure that the stylus is in the groove with all the parameters as close to ideal is more important for sound quality then what tone arm it is. If the angles between the stylus and grove is little bit more "off". The tone arm cannot compensate for that.

And yes the ideal SRA is changing with different records but the ball is on the playing field and not somewhere in the arena. And on the other hand that is then easily adjusted if we want/needed.