Here's my swiss army knife of a main listening setup. It packs in a 7.1 channel surround system, and a turntable into a small space.
Everything could just run through the AVR, but I wanted to experiment with alternate signal paths and see if I could hear the difference, so I've got the ability to run a stereo system through the Schiit Freya+ (fed either from the turntable or the SMSL DO100 Pro fed via airplay). The Bobwire switcher combined with the auto-sensing of the Fosi amps makes the source-selection downstream of the AVR/Preamp totally hands-free.
The bass is always extracted from the L+R channels by a MiniDSP DDRC24 which also provides Dirac room correction. The Loki Max is always able to EQ the LR channels for preference (not room correction). It's really nice to be able to quickly tweak it with the remote (eg. to drag down the 20Hz region late at night with the lowest EQ band).
The Musical Fidelity phono stage is also good for experimentation because it's got easy buttons for adjusting MM/MC loading on the fly. The best thing about it has been the massive headroom for absorbing pops/clicks - they've almost disappeared when compared to the built-in phono stage in the turntable. I haven't bothered experimenting with the AVR's phono stage.
I can run an ASR-approved provably-transparent minimal-SINAD chain from the the SMSL DAC through the Freya preamp in passive mode with MiniDSP Dirac room correction, or go in the opposite direction and run an end-to-end analog fully balanced stereo signal path from the turntable by feeding the XLR output of the Loki Max directly to the Fosi V3 Mono XLR inputs (controlled by the XLR/RCA switch on the Fosi's) which bypasses the MiniDSP for the L+R channels (but keeps the LFE extraction because the Loki outputs both XLR and RCA signals simultaneously). I don't often use the fully-analog chain because the sub integration is noticeably worse without the ability to line up the delays via DSP.
Mixing and correction for the surround channels is done by Audyssey on the AVR. Audyssey also does its own processing on the L/R channels when using the AVR, but the effects are fairly minimal (aside from lowing the bass a bit as Audyssey likes to do) because the DDRC24 is already providing a flat response. That means that instead of a fully analog signal path I can also run 2/3 different DSP layers simultaneously (2 for the mains, 3 for the sub counting the built-in SVS DSP)! I've not noticed any audible ill effects from the double DSP handling via the MiniDSP - the Dirac correction is worth it.
My favourite signal path for active stereo listening has turned out to be either the turntable or the SMSL DAC into the Freya+ in tube mode for some subjectively-pleasing distortion before feeding to the MiniDSP.
If I want to listen at low volumes (eg. for background with guests), then I'll use the AVR for it's built-in dynamic loudness correction.
The R3's are bolted onto some very simple DIY Messmate stands so the tweeters are exactly at ear height for our couch.
The Mac mini is hidden behind the TV. The Bobwire, MiniDSP, SMSL DAC and Wiim Mini are all attached to the back of the cabinet out of sight.
The diagram doesn't show the alternate (fully analog) Loki Max -> Fosi V3 Mono path to bypass the MiniDSP.
Also not shown is an Apple TV, since it seems to be the only reliable way to get Dolby Vision + ATMOS output to the AVR. I'd love to ditch it and just use the more flexible Mac mini if Apple ever fully fix the output formats of the Mac.