Tonearm recommendation

Hello all,
I'm keeping the FR66s. Many, many thanks to those who have offered advice in this endeavor. Much appreciated.

Just a little more advice please. I have three headshells in house. 

I've got the Arche w/ the aggelos leads, an LP Gear Zupreme with 1877 Phono Devils Hair leads, and a NOS Supex ( I think ) headshell that my buddy who gave me the FR66s and the Koetsu used to mount it.

I'm a little worried that the effective mass of the Arche w/ the FR66s would be too high to mate OK with the Koetsu, and maybe I should procure a lighter headshell, maybe a Ebony or other wooden Yamamoto.

Those of you who have any experience here, please advise.

As always, thanks in advance for any advice.

Cheers,     Crazy Bill

Crazy Bill,
The choice of headshells makes a significant contribution to the sound of a particular cartridge/arm combination.
I find it pointless to waste time on ’theoretical’ speculation on this subject when it is so so easy to experiment.
I have tried every type of available headshell in my FR-66s (except for the Arche) including the FR3, FR5, Yamomoto HS1-AS, Ortofon HS-8000 and various aluminium and magnesium ones.
They can all sound well with the appropriate cartridge.
FWIW I have found a rule of thumb to work most of the time...

• Metal-bodied cartridges sound rather better with wood shells
  
• Plastic-bodied cartridges sound rather better with metal shells
  
• Wood-bodied cartridges sound rather better with metal or ceramic shells

Have fun.....

Crazy Bill,
I also have a Sonic Frontiers phono signature. What tubes are you using? I recently upgraded to Mullard 6DJ8's (from Sylvania) & am impressed with the change. It's always thrown a huge stage, now it has that with more presence and definition. I've been running Mullard 12AT7's for years now & will have to be making a change there soon. Thinking about Bugle Boy's. Looking for your opinion.

Thanks, Tim

Crazy bill if you have a 66S keep it!  Also have to agree with another poster that you may be well served to audition some other phonostages, no insult intended. If I could humbly recommend the Herron vtph2. Also agree with atmasphere regarding the triplanar. 
A while back I bought a 103r to see what the fuss was about. Had it on an et2 and it is pretty good, just under my reference audioquest 7000nsx. Then I mounted it to an et1 which is a massive affair. Now it matches my reference which was around 3k 25 years ago. Pretty good for a 300$ cartridge. 

Dear analogluvr: " pretty good for a 300$ cartridge ", yes for that money is good because it makes sounds but that cartridge is part of the low-fi items where the Rosewood belongs to the mid-fi audio items.

Your nsx is better performer ( I owned ) and the Fe5 is even better and as you know these Audioquest designs were manufactured by Scan-Tech ( same as Lyra. ) to the Audioquest specs/characteristics.

Btw, as all the gentleamns here that " D4 the 66 noise/distortions generator " you only said: " keep it " but as the other persons give no single reason why that tonearm can fullfil the cartridge needs and makes the cartridges really shines. Could you put some light about?

Seems to me that I was and am the only one that make a wide explanation why not keep that tonearm and here more about that long tonearm:

https://forum.audiogon.com/discussions/tonearms-longer-than-12-inches/post?postid=1289088#1289088

additional we have to remember that the 64/66 are dynamic balanced designs  and all dynamic balanced designs always generate ringing ( noise/distortions. ) through the dynamic mechanism but two tonearm design: the MAX 237/282 and Luste GST-801. Adding to that problem the micro and macro waves in the LP recorded surface makes that in a dynamic balanced tonearm design the " normal " continuous changes in VTA/SRA/VTF  that always exist in any tonearm ( static balanced included. ) been more pronounced do that when there is a crest in the LP surface the deflection in the cartridge cantilever is higher in a dynamic balanced design that in the static balanced one that works with natural gravity where in the dynamic the mechanis always force to mantain the VTF but when is against a crest the cantilever is pushed up making a higher cantilever deflection.
In both kind of tonearm designs exist the problem but in the dynamic one is bigger. Normally when the human been goes against the mother nature fall down.

I hope you will be the person that can explain that " keep it ".

regards and enjoy the music,
R.