Tonearm recommendation


Hello all,
Recently procured a Feickert Blackbird w/ the Jelco 12 inch tonearm.
The table is really good, and its a keeper. The Jelco is also very good, but not as good as my Fidelity Research FR66s. So the Jelco will eventually hit Ebay, and the question remains do I keep the FR66s or sell that and buy something modern in the 5-6 K range. My only point of reference is my old JMW-10 on my Aries MK1, so I don't know how the FR66s would compare to a modern arm. So I'd like to rely on the collective knowledge and experience of this group for a recommendation.

Keep the FR66s, or go modern in the 5-6K range, say a Moerch DP8 or maybe an SME.

Any and all thoughts and opinions are of course much appreciated.

Cheers,      Crazy Bill
wrm0325
Lew,
Inject into the cartridge pure tones that span the audio frequency range, say 20 to 10K Hz at log intervals, e.g., 20, 50, 100, 200, 500, 1K, etc, and at each single frequency, take a look at a spectrum analysis of the output. Absolutely no subjective judgement allowed.
Too sensible and too scientific an idea to take root in this hobby...🤕
Raul prefers to 'imagine' his own physical universe, free of the complications of science.
He says that he's always willing to learn...but that's untrue. 
First he states that the Resonant Frequency of a tonearm/cartridge combination should be 8-10Hz and then attempts to explain 'why'
well, any resonance has fundamental frequency where happen that resonance ( it does not matters where it comes. ) and that means that at the same time that is happenuing are created its harmonics exactly as the harmonics in the music and that's why those " distortions " always affect all the listening frequency spectrum and we have to take in count that those " distortions " happen all over the frequency range not only at 8 hz or 20 hz but at 3 khz too ( for whatever reasons. .
When I point out the absurdity of his explanation
And of course we all know that the harmonics of 8Hz (16Hz,24Hz,32Hz,40Hz,48Hz, 56Hz etc) do absolutely no harm to the tonearm in vibration mode whilst the harmonics of 7Hz (14Hz, 21Hz, 28Hz, 35Hz, 42Hz, 49Hz) render the tonearm a weeping sloppy mess..😱
He conveniently ignores it.
He obviously has no tertiary qualifications in physics, materials' science,
structural engineering, mechanical engineering or acoustical engineering, yet continuously postulates false information as if they were 'facts' without ever presenting scientific evidence for his delusions.
Because he can hear an undamped metal tonearm 'ring' when he taps it....he imagines that this 'ringing' must occur even when he doesn't tap it. A mistake only made by the uneducated.
Not only doesn't he present evidence to support this absurdity....he can't even tell us the 'magnitude' of these imagined 'resonances', nor their frequencies nor where they are supposedly coming from?
His 'evidence' is always the claim of some contributor on a Forum or cartridge designer or reviewer with whom Raul agrees.

In the wake of his delusional view of the physical world and his real inability to listen to others and educate himself.....there is little point in arguing with him.
Raul -
Further to my post above, the Dynavector Karat Nova 13D that you advertised on Audiogon in August last year (Listing ID: lis6d99b) is not only mounted upside down in the headshell, but appears to me that the cantilever is not original as claimed in your ad.
Listing ID: lis6d99b
My sample is an original one and how can I know it for sure?, because at least three unique characteristics: first its serial number, Dyna numbered from 1 to 99 ( exist other 13 D that are not really 13 D but 17 D that have higher serial number. ) mine is number 6
Here is a link to a comparison of my original Dynavector Karat Nova 13D cantilever to the one you advertised. You can see in the pictures that your Dynavector Karat Nova has a much longer cantilever, and the cantilever is too far forward in the body. The cantilever on your cartridge does not look original.
https://www.youtube.com/watch?v=-vveRGz-s4g
Given your vast experience and expertise, can you explain this discrepancy ?  


I guess my post had as much effect on the argumentative nature of the discussion as a loud burp.  So be it. I may even invest in a spectrum analyzer in order to perform the experiment I outlined.  I do own enough tonearms to make it interesting, no FR66S but do have FR64S. For pure tones, I've got 6-7 test LPs.  It would be easiest to compare tonearms with removeable headshells, because the ideal method would be to move one cartridge/headshell combo among several different tonearms.  (Obviously, the choice of headshell will very likely affect the outcome and is yet another experimental variable.)
Dear dover: In my country people say : " don't try to find out 3 foots to the cat knowing have 4 ".

I bought my two 13D as originals and maybe what you say is only a picture efect. Both cartridges comes with the dedicated  internal connection wires and both has serial numbers down to 15.

What do you try to prove with your posts? what?, please enlight me about because that is not a contribution from your part that helps on the subjects here.

Anyway you are free to post whatever you want it.

Regards and enjoy the music,
R.
Dear lewm: From my part there is no batlle with any one.

Now, as fleib you don’t got what I wanted to explain, this is my fault.

What I’m talking is what in a non-existen " perfect audio world " we have in those internal wires: ideally a pure non-contaminated signal information.

I posted that we can’t have it never ever because we have many distortions/noise/vibrations/resonances surrounded the ridding of the cartridge LP grooves modulations as: TT/arm board/Tonearm//air pollution/LP anomalies and that’s why we need to overdamp those audio chain links to be nearer to that " ideally non contaminated pure signal music information ".

In that analog rig we can’t overdamp as a fact we need to " overdamp " down there to impede or at least mantain at minimum any single degradation to that signal in those audio links.
Lewm, remember that all the necessary music information comes in those LP grooves modulations and everything that could disturb the ridding of the stylus on those grooves modulations only can degrade that precious recorded music information. If we don't damp those audio links the we will listen additional and bad information that were not in the original recorded signal.
No one needs to measure nothing here as you suggest. Please think in deep of what I’m saying here because as fleib you are too very dogmatic: open the box!

Where can we overdapm?, in the speakers/room links ( treatment ).


Regards and enjoy the music,
R.