Tonearm recommendation

Another example of Raul's inexhaustible supply of EGO.

You seem to have ALL the answers.

The rest of us should just go home.

For the record, I find my FR66s to be the easiest tonearm to set up that I have ever used. AAMOF, I don't see how it could be easier. Everything just snaps, STS, into place. My JMW-10 and Jelco arms were significantly different and more time consuming.

Isn't it funny ( actually, it's not  ) that Raul quotes one example of someone whose experience supports his mantra ( and this is nothing against ct0517 ) and he declares it the law of the land. Well Raul, if we were to take a poll on the way you call this issue, I'm going to guess the numbers would not be to your liking.

WHO CARES ?  We all judge things by what our ears tell us. The problem is, when our ears don't agree with yours you call us WRONG and you are automatically right.

You've made your point, you don't much care for the steel versions of the FR series of arms, so unless you wish to CONSTRUCTIVELY add some thoughts to my next paragraph., please stay away.

OK guys, I want to thank everyone who has contributed to this thread. Very, very much appreciated. But the story goes on.

It appears my budget has been increased to the 10K area, so I'm sure this is going to murky the waters somewhat. But that budget increase opens up a whole new world, STS, of tonearms available to my use. The Durands, Reeds, and others come to mind. Since I'm getting old, and this will be my last analog purchase ( probably except maybe for a cartridge change ), I want to get it right.

So, given the increase in the ceiling of my budget, any new thoughts on whether to keep the FR66s or go with a modern arm w/ the budget topped at 10K ? Linear trackers, of course, would be considered, as long as they can be mounted on the Blackbird w/o difficulty. Also, the ultimate arbiter is the sound quality, not ease of set-up or changing cartridges or anything else. Just the sound quality of the arm and its ability to get out of the way for the cartridge to do it's thing, STS.

Again, many, many thanks, and enjoy the music.

Cheers,                         Crazy Bill

OK Crazy Bill....you've piqued my curiosity....
I originally took your Thread at face value as someone, although not at novice stature....seeking the advice of more experienced audiophiles.
But your answers on this Forum, and your descriptions of your equipment and experiences display the fact that you are way beyond novice stature and appear in fact. just as experienced as those to whom you address your query...
And then the question arises.....who on this planet owns a Fidelity Research FR66s tonearm (which today, costs in excess of $8,000 used...if you can find one) other than an experienced audio connoisseur..❓👀 
Are you having a lend of us...because if you own an FR-66s, you KNOW how good it is⁉️
Despite my doubts....I will still continue to treat your Post as legitimate for the time being 🤓

It is impossible today, to audition all the equipment one is considering purchasing, in one's own system.
This is especially so with tonearms and cartridges, and we all become more reliant on Reviews and others' experiences to help guide us to a 'Short List'.
The problem with Reviewers is that with Analogue in particular...there are only one or two who have heard the very best turntables, tonearms and cartridges in their reference systems. And even then.....it is only the latest and current equipment which they have heard because of their employment conditions with Audio publications.
This means that the great vintage analogue equipment of the past 40 years is generally unheard by these two reviewers...and let there be no mistake....the greatest turntables of the past (like the Garrards and Thorens, the EMT idlers, the Micro Seiki heavy belt-drives and the classic uber Japanese direct drives) have not been bettered by modern decks.
The same situation exists for the great vintage Japanese tonearms and also the great vintage cartridges like the Ortofon SPUs, EMTs and Fidelity Research FR-7 series but especially the MMs which reached their zenith 35 years ago and are generally forgotten....not only by reviewers...but also by the great unwashed masses 😂
So who can one rely on for advice about tonearms and cartridges...?
A successful professional tonearm designer/manufacturer would be one I would heed, as he would have listened to many in his pursuit for excellence. That's why Harry Weisfeld's advice to keep the FR-66s speaks volumes despite his understandable attachment to his own brand.

Another course...and one I have followed....is to find an  audiophile so dedicated and unrestricted in his pursuit for the 'best'..that he has listened to (and owned) ONLY the very best audio equipment from every age and manufacturer ever made 👅
And if you find two or three such fanatics via the Internet, you will see a general thread of agreement in their ultimate choices.
http://audiocirc.com
This is the Blog of Thuchan who is a Bavarian audiophile who currently owns 71 cartridges, has literally owned dozens of tonearms and even dozens of turntables.
A close examination of the equipment he owns (and has owned) is convincingly mind-boggling.
He has no agenda other than the pursuit of excellence....and as far as I am concerned, he has done a lot of my audio 'sifting' for me.
There is no possibility that I will ever have the opportunity to hear all the tonearms and cartridges that Thuchan has...so why not take advantage of his experiences.

If you want good objective experienced advice Crazy Bill....you should find yourself a Thuchan 👍

Halcro
The Dynavector is a monster of an arm (1.5Kg) and does not fare well mounted on sprung turntables or those with flimsy armboards. A massive separate armpod is ideal for this tonearm....and is recommended by Dynavector themselves.
I don’t know whether you mounted both arms identically Chris....but if you did, perhaps there is a fault with one or both arms?

No faults worked as designed Henry. My DV505 and the FR64s was mounted on a 100 lb Jean Nantais TT. but you already knew that.

Halcro - I find no significant differences in the frequency response (from top to bottom) between the two..

Interesting - did you not also say in another forum that you found no differences between your Belt and DD turntables too?

You know, during my Audiophile Turntable Bedlam phase - I found differences between idler, belt, thread and DD in my room. All I can say Henry would be what I already said on your virtual page - look to your speaker placement.

btw - I did not say or refer to frequency response (top to bottom) in my last post. I was discussing differences in DB levels at low frequencies (45 to about 70 hz) with the 57’s.

nandric - Well I nearly forget how those work because I use (one of) my FR-64 continual. It is more than a tonearm it
is a love affair.

I think Nicola likes his FR64 so much because when he lets the cuing lever down, its slow movement before it touches the vinyl, gives him time to top up with Slivovitz (grin)

Nicola - that bottle I told you about containing what looks like water is still untouched. Does it age well ?

Halco and Nandric,
Thank you both so much for your advice. It is greatly appreciated and listened to. Your ( and others ) experience far exceeds my own.

Halcro,
I can assure you that your original assessment of my intent is completely correct. A little history, I guess.

Bought my first real audio system back in 2000 when I got divorced and finally had a little freedom in my life. The analog front end consisted of The VPI Aries MK1, VPI JMW 10, VPI Synchronous Drive, and Grado Statement feeding the Sonic Frontiers Phono 1. I also started buying a lot of vinyl to listen to, mostly older classic rock ( have a GREAT local place w/ extensive used vinyl for sale ), and the re-issue stuff ( MoFi,DCC,etc ). I was in complete audio bliss for about 5 yrs until my audio world was turned on its head.
Turns out that a member of our golfing group that I had just met is a complete audio nut. He also has deep pockets. After we finished playing golf one Sunday morning, he convinces me to follow him to his home about 1/2 hr. away. Upon arrival, we go to a storage area under the stairs, and inside is a Mitch Cotter turntable and his record collection. They had been stored there for 15 yrs. These records are the under 20 cuts I mentioned before, and obviously the source of the FR66s. I still wouldn't have a clue about any of this stuff had I not received these gifts. I started doing some studying because I now possessed them.
I had absolutely no idea what I was doing. Purchased the PHONO1 based upon positive reviews and that fact that a local dealer who was a friend carried the SF line. Purchased the VPI and the Grado from an internet retailer based upon reviews and the salesman's recommendations. The fact that everything went together so nicely was just luck, as I certainly had no idea what was going on.

Fast forward a few years, and the Denon part of the Mitch Cotter dies. After extensive efforts to find a repair place and many conversations w/ potential repairers, I decided to abandon repair of the Denon DD. The owner of the now defunct Choir Audio kindly built for me the platter, bearing,motor and speed control from his Choir One table. His website is still up if anyone cares to see what that is. I abandoned the spring loading of the Cotter, but I used the top plate mounted on a bunch of Vibrapods and fastened the bearing assembly to it, hooked up a makeshift motor mount, and now had a belt driven high end turntable mounted to the Cotter baseplate and still using the FR66s. ( I had since sold the VPI stuff. Don't need two tables ) Sounded absolutely glorious, but sure looked like, much to my wife's chagrin, a crude Rube Goldbergh affair.

Well, fast forward some more and my golfing buddy and I have remained best friends since then. I go to his place as often as possible to listen to his headphone based SOTA digital system, and he comes here sporadically to listen to vinyl ( btw, I still get his hand-me-downs, of which the Stax gear I listed is to be included ).

A while back, while here, he said he was tired of looking at my turntable contraption and he wanted to put a new table in my house. He has bought most of his stuff from a dealer in NYC, and since he wanted to buy from him out of loyalty, the Blackbird w/ the Jelco arm and Arche headshell ended up in my living room. Otherwise, w/o question, a new VPI set-up would be here instead, but that dealer did not carry VPI.

The Denon DL103r is my cartridge. I procured the Midas body and fitted it. The Koetsu is from my buddy from the original gift of the records and Cotter. After a couple of years of use on the Cotter, the suspension collapsed. It was from the 80's and was built by the old man. It sat there while I used my Denon until the search for the new table began, when it was sent back to Koetsu for a total rebuild at my friends expense.

So here we are. I compared both arms and the rest is history.

Were it not for the generosity of my friend, I still wouldn't have a clue about the FR,Cotter, or any of his other hand me downs. I'm semi-retired now, and certainly can't afford this kind of stuff and would never have been exposed to it were it not for him.

So, you see, I certainly have a very limited knowledge base compared to you guys, which is why I came here to ask the question.

Regarding that question, it's time to put this to rest. The new tonearm was also going to be courtesy of my buddy. I've informed him that I'll be keeping the FR66s. It's time to get off this bandwagon and spend what little spare time I have listening to music, and not studying what may be a new acquisition instead.

So to all who contributed, my sincerest thanks for your input and advice.
The FR66s stays.

Cheers,                           Crazy Bill

P.S. Still would like to get a copy of that old thread I mentioned before if anyone may have it.