Allocation of analog resources

I’m gonna go with @Mijostyn here, with a few additional thoughts. First, the analog front end also consists of a phono stage so I think you have to take that into account in any effort to budget. Second, I’m a big believer in used gear, since a lot of the high ticket stuff depreciates fast, especially in flavor of the month circles. A reputable dealer/manufacturer who will stand behind what they sell is a thing to be cherished.
One turntable I always wanted to explore, but have not (given what I presently use) is the Platine Verdier. I think member @Syntax has some hands on experience with it, and might advise. (He could also say stay away, so his thoughts would be welcomed, at least by me).
The ability to run more than one arm is kind of nifty-- I have that ability with my table, see here, but it won’t balance easily on the Minus K platform I use for isolation, so, for practical purposes, I run one arm- a linear from Kuzma which requires an air compressor. That adds to complications, though truth be told the arm has been trouble free- the compressors require attention periodically.
I’m pretty brand agnostic-- I guess you have a variety of options- both with respect to drive systems and mass. I like what the high mass tables do, but you have to have the ability to isolate them, which may be problematic if you are dealing with springy floors.

Cartridges- pick your flavor. I’m currently running Koetsu stone bodies, but there are plenty of great cartridges out there. I’m not as inclined to go used on the cartridge. I think a lot has to do with associated equipment and how you want the system "voiced"-- it is almost impossible to evaluate these things in other systems, given all the variables in play, including room and set up.

Up your game- sure. Budget allocation? If I could buy a top of the line vintage Micro-Seiki, I’d lay out for it, even if it went beyond what you had initially planned to spend. But, that’s me. I heard a relatively cheap Audio Technica cartridge being played on one of the current uber tables with a vintage 12" arm, and it held its own with some tres cher LOMCs.
Have fun with this. It can be a long term investment that you should not have to worry about if you find the right source. Part of it may also come down to ergonomics and design aesthetic. I know, that sounds like the wrong way to approach this, but recognize that your perception of the table is going to include more than what it doesn’t sound like. (In my experience, the better the table the fewer artifacts it introduces to the sound, and discerning the absence of something isn’t easy until it is absent by comparison).

I was at this stage about 6 months ago. I had a system that was nice, but wasn't at the level I really wanted. I had been saving up for the last few years to purchase some components that would be a substantial jump in performance over what I was using. I had a basic UTurn turntable ($300) with an Ortofon Blue MM cartridge and their phono stage. It was really nice no-frills turntable that had moments of good clarity, but was never going to equal a higher end model. I was running it through a Yamaha integrate amp.

I decided to make a substantial jump in build quality and flexibility (ability to change tonearm in the future). I purchased a Dr. Feickert Volare turntable ($2900) after lots of research. I mated that with an Origin Live Onyx tonearm and a Hana SL MC cartridge. That is a big jump in cost compared to what I was using. I also replaced the Yamaha with a McIntosh c2700 preamp with a built in phonostage (I love the sound of tubes). This was a huge expense, but the sound improvement was absolutely stunning. My old system sounded like a wax cylinder recording in comparison. 

I don't suggest that anyone make that level of investment jump. This was a risky move to go from a sub $1000 turntable/tonearm/cartridge/phonostage/amp to components that are 10 times that in cost. I am lucky in having a family that actually talked me into spending that money. My wife now loves listening to albums (it was hit and miss before) because she says it now is closer to a live performance. 

@whart “front end also consists of a phono stage”

… he is very correct. The Phono stage is critical and inexpensive usually means highly compromised sound. My phono stage now costs the same as my turntable/arm/cartridge, but my system has sounded pretty good at 1/2 the cost of my TT/arm/cartridge. I think phono stages get good at around ~$5+ new.

I personally only buy used components with no moving parts. Mechanics can be misused and damaged in subtitle ways. Typically all electronic components work or they don’t. But my point of view is I don’t take things apart.



@femoore12 “This was a risky move to go from a sub $1000 turntable/tonearm/cartridge/phonostage/amp to components that are 10 times that in cost.‘

I adamantly disagree with this statement. I do understand that when you do a purchase like this it feels like a huge risk. But in reality it is not. Moving up in cost by 10x… unless you do something terribly wrong is a virtual guarantee of a jaw dropping, wonderful improvement in sound. This is the quickest and surest way to awesome sound. You cannot do it blindly… but this big of jump covers minor errors.

You could argue the risk is that if you just don’t care about the sound quality it could be a let down. But I don’t think you would be inclined to make such a move unless you already knew yourself well enough to know you do.

The quickest way to be frustrated by this pursuit is to trade sideways expecting big gains. To jump 10%… or 25%. Many of us have done the 10x and it proved the incredible opportunity for enjoyment and ongoing sonic improvements that are possible,

I have the same table. Since you’re using Lyra Delos, that means you likely have a $3-5K phono stage which allows it perform the way it should?

After that, you’re ready for a $10K+ setup. Open to used? Even better.
Research everything at your max tolerance level$. No shortage of choices, that’s for sure.

Used Avengers or DD HW 40’s show up used at decent prices now and then, if you want to stay VPI. Personally, I’d get a used HW40 and put a fancy 2nd aftermarket arm, call it a day.

Similar to what has been stated, my take on it is:

Table- learn and discover what basic sound quality the three drive types offer and to which you gravitate towards ( belt, idler, DD ). then get the best ( and best built ) you can now you have a foundation piece.

Tonearm- ditto above but for the three main tonearm types ( unipivot, gimbal, linear ). I would add the additional use/ handling factors for uni and linear in terms of comfort of use. Now out this on hold a bit and go to cart...

Visit carts is same way and circle back to tonearm when it comes to creating a happy tonearm/cart pair.
While everything matters I agree that cart is the best place to skimp as you will be replacing it at some point :)

Lastly phono preamp. This is hard as really good phono pre’s are expensive...but there are value leaders in the under $5k zone already well discussed here. Now you have a ’sound’ from the table/arm/cart start to demo phono preamps...

Have fun!