None is bad or wrong, just preference. Remember for each $, you get something, you loss something.
American camp - big, over-damped sound, shoot-for-the-star/deep-in-the-trench frequency extreme. VPI, Basis etc. Phono stage examples: Aesthetix, CJ Premier, Krell KPA.
British camp - fast, agile, not-care-about frequency extremes, timing and rhythm are kings, Rega, Linn, Roksan, etc. Phono stage example, Linn Linto (listening to Linto will teach everyone a lesson what rhythm/drive/timing is about.) Tom Evans, Audible Illusion M3 (without MC Gold).
Somewhere in middle - Well Tempered, SME 20/30, Simon Yorke, Micro Seiki, Clearaudio and other European tables which I have not had a lot of experience. Phono stage examples, Spectral DMC20, Vendetta Research, Hovland.
Notice that the somewhere in middle camp includes very expensive table, and there is a reason. To have the engineering cost in order to capture rhythm and timing, yet retains the weight, authority and frequency extrmemes do not come cheap.
Some people are just more sensitive to timing and rhythm, and others more critical to bass and 'air'. Getting VPI and squeeze more timing/rhythhm out of it (like adding SDS), or getting Linn and squeeze more extension (using carbon graphite), just different avenues towards a satisfactory musical experience.
American camp - big, over-damped sound, shoot-for-the-star/deep-in-the-trench frequency extreme. VPI, Basis etc. Phono stage examples: Aesthetix, CJ Premier, Krell KPA.
British camp - fast, agile, not-care-about frequency extremes, timing and rhythm are kings, Rega, Linn, Roksan, etc. Phono stage example, Linn Linto (listening to Linto will teach everyone a lesson what rhythm/drive/timing is about.) Tom Evans, Audible Illusion M3 (without MC Gold).
Somewhere in middle - Well Tempered, SME 20/30, Simon Yorke, Micro Seiki, Clearaudio and other European tables which I have not had a lot of experience. Phono stage examples, Spectral DMC20, Vendetta Research, Hovland.
Notice that the somewhere in middle camp includes very expensive table, and there is a reason. To have the engineering cost in order to capture rhythm and timing, yet retains the weight, authority and frequency extrmemes do not come cheap.
Some people are just more sensitive to timing and rhythm, and others more critical to bass and 'air'. Getting VPI and squeeze more timing/rhythhm out of it (like adding SDS), or getting Linn and squeeze more extension (using carbon graphite), just different avenues towards a satisfactory musical experience.