Based simply on countless auditions, not just myself but scores of people (please note: not audiophiles, PEOPLE) over many years with everything from budget to mega there simply is no way any VPI doesn't trounce any CD.
So let's set that aside and maybe focus on what you really need to develop, which is listening skills.
No offense, but if you had them we wouldn't be here. You would have heard- not seen, heard- that VTA was off, and kept adjusting until it was right on.
Lesson One: turntables CANNOT be set up and adjusted by eyeballs, rulers, stylus force gauges, or any of that. These merely get you in the ballpark. Perfect LP playback can only be achieved by careful listening, judicious adjustment, and more listening.
Lesson Two: most everything you adjust will affect everything else. Changing tracking force alters SRA, which affects VTA. Tracking force also affects subjective frequency response, which might make you change your opinion on the optimum VTA. Round and round.
Fremer no doubt has superb setup tutorials online. Seek them out and study.
My tip for setting VTA: If the arm is a bit too high (arm tilts down towards the stylus) you will hear note attack emphasized relative to note body. The saxophone reed a bit more prominent than the body. Cymbal tsss more than tinggggg. With VTA too low the body or fundamental of the note will be a bit more pronounced relative to the attack, or plucking, whatever you want to call it.
If that seems hard, wait, it gets better. The difference, when you get really good at it, between high, low and perfect is way, way, WAAAAY too small to see. Its like thousandths of an inch. When I get it right I write it down, right on the record. Its not like you have to do this. Hardly anyone does. It seems like a lot of work. Impossible, if you can't hear the difference. With practice though its easy. Once you understand what it sounds like when VTA is locked in its hard to accept less than perfect. Especially when by then you also know you can tweak it perfect in literally a matter of minutes.
Once you understand. There's your homework.
So let's set that aside and maybe focus on what you really need to develop, which is listening skills.
No offense, but if you had them we wouldn't be here. You would have heard- not seen, heard- that VTA was off, and kept adjusting until it was right on.
Lesson One: turntables CANNOT be set up and adjusted by eyeballs, rulers, stylus force gauges, or any of that. These merely get you in the ballpark. Perfect LP playback can only be achieved by careful listening, judicious adjustment, and more listening.
Lesson Two: most everything you adjust will affect everything else. Changing tracking force alters SRA, which affects VTA. Tracking force also affects subjective frequency response, which might make you change your opinion on the optimum VTA. Round and round.
Fremer no doubt has superb setup tutorials online. Seek them out and study.
My tip for setting VTA: If the arm is a bit too high (arm tilts down towards the stylus) you will hear note attack emphasized relative to note body. The saxophone reed a bit more prominent than the body. Cymbal tsss more than tinggggg. With VTA too low the body or fundamental of the note will be a bit more pronounced relative to the attack, or plucking, whatever you want to call it.
If that seems hard, wait, it gets better. The difference, when you get really good at it, between high, low and perfect is way, way, WAAAAY too small to see. Its like thousandths of an inch. When I get it right I write it down, right on the record. Its not like you have to do this. Hardly anyone does. It seems like a lot of work. Impossible, if you can't hear the difference. With practice though its easy. Once you understand what it sounds like when VTA is locked in its hard to accept less than perfect. Especially when by then you also know you can tweak it perfect in literally a matter of minutes.
Once you understand. There's your homework.