The best way to start adding A=analog to my system

OP,

That is pretty good, I think you are taking away the right stuff. . But the table and arm are really important. I just had my Linn LP12 sub chassis replaced… it was a fabricated metal plate that was replaced with a solid piece of metal with different diameter holes drilled in it (the Keel) to dampen vibrations… had a surprising large effect.

So, it all matters. I fiddled with sub $2K turntables for a couple decades. They sounded ok. Then I got my first audiophile table the VPI Aries… and a ridiculously expensive cartridge.. the Van den Hull Frog ($2.5K?). I just dropped my jaw… the table just completely got rid of surface noise.. it just disappeared.. pops and clicks disappeared into the background. The cartridge just picked up levels of detail I could not imagine was possible.

Today, I own a Linn LP12 with a Koetsu Rosewood Signature cartridge (~5K). I put a Silent Running Audio Isolation platform under it ~(3K). I also upgraded my tone arm to Line’s top of the line toe arm (~5K)… wow… greater solidity and detail.

But you are definitely correct… without a fantastic phono stage, you are not going to hear it. Without my Audio Research Reference 3 Phonostage… I would not hear all the incredible improvements in my TT.

4--tonearm/internal wiring. similar to the turntable, the tonearm is an ancillary component that in terms of sound quality works best when you don't experience anything from it at all;

The Tonearm has two functions,  which is both as a mechanical device and supply a means to transfer an electrical signal generated from the Cartridges Operation. The Main Purpose of the Tonearm apart from be a device to mount a Cartridge on to, is for the Tonearm to function in a manner that enables the Cartridges mechanical operation to function without impediments that will impact on the critical movements. There are numerous designs for the Tonearm and all will to some extent be an impediment to the Cartridges mechanical function.

How the Tonearm has a design to manage transferral of energies are quite varied as well, but in general all Brands, Models and Designs are not equal.

The other purpose of the Tonearm where it is supplying a means to transfer the electrical signal generated within the Cartridge, also has quite an important consideration, as an incorrect wire choice and configuration for the wire within the Tonearm can impede the mechanical function of the Tonearm and present a resistive force to the required freedom of movement. The quality of the cable and cable connections for being able to transfer a unadulterated signal is a more difficult subject to broach on and this will be adopted mainly and accepted as the chosen method that is supplied by the Manufacturer.  There are some who change the supplied method and produce their own bespoke methods.

5--interconnects. the difference between wirings seems overblown; 

My experience has shown that there are benefits to be had by having tried out a selection of Signal Wire Types and Cable Designs in a system.

The choice for connectors used on the Cable and the Chassis is also a worthwhile consideration.

If the connections are causing a loss of the complete signal being transferred, the signal loss will arrive as a sound at some stage, and it can be detected as a smearing to the details.  The more information that can be delivered on time, the more the detail of the envelope of a note and vocal is present and detectable.

I'm sure the description offered will be challenged for the suggestion the  impact of the connections on a Cable, but when the changes in detail retrieval are detected, and the method used are seen to be responsible for the impact being made, there are not too many descriptions left to explain what is being perceived.

@saulh I think your analog chain is good.  I will caution the cable from the TT to phono stage should be short, 60 cm if you can, and low capacitance from signal to shield (try for 50 pf/metre).  You may need to make the cable. The output impedance of cartridges is very high resulting in cable capacitance being important.

@clearthinker, I know where you are coming from. The problem with new music is that there is SO MUCH GARBAGE mixed in it is hard to find the talent. It use to be hard to get a recording contract. You had to be at least 1/2 decent. Now any one with a computer can make noise and get it published. You have to wade through it to get to the good stuff. My point is the good stuff is there and missing out on it is IMHO not a good approach. Groups and people that do concert videos are most usually talented. I watch a lot of these. I got into Arctic Monkey's and Modest Mouse via a concert videos. Jazz is much easier than popular music. You Tube videos and NPR's Tiny Desk concerts are another way to spot modern talent. 

I use to buy records because I liked the cover and I got introduced to some great bands that way but not any more. My kids recommend a lot of music and their taste was programmed by me so that is certainly another reliable source.