FR66S vs Ikeda IT-407 vs FR66FX

I owned at least 10 FR-64S. Since the 80is. Never longed for 66S
because I was in love with 64S and consider this one as an beauty
and 66 as an beast . I don't believe that 10 " arm is lesser than 12"
arm. Besides the FR-64S can be made less heavy with 170 g.
weight and lighter headshells. But to get an perfect sample one
need to buy many and exchange some parts which lost the spring
on fastening screws together with plastic peace on their ''nose''
to protect aluminum scale and steel at the opposite sides. I now
own the copper and silver (inside) kinds.
My Reed 3 P is , in some way, similar to Dertonarm 'Arche'' headshell. 
By Arche one can buy additional insert pieces on which
the cart is fastened. So one can use the same frame for as many
carts one wants .By Reed 3 P one can change in similar way
the as ''insert piece'' made headhells and pre-adjust carts on
them as if one owns more headhells than one.
My experience with Ikeda was an mixed blessing. Not as easy to
adjust and use as FR-64S and not better sounding. So I 
sold Ikeda and kept (both) FR-64 S. Also easy by cart exchange. 
When FR 64/66 FX was produced the argument (from German
importer)   was that FR-64/ 66 was much more difficult to produce
because hardening steel was much more difficult to work with
in comparison with aluminum. The same was the case with SME
arms. The first series were made from steel the later from aluminum.
I don't want to suggest that the same reason apply for Ikeda 345
or other Ikeda versions (grin). 

Of course there are more 'classic' Japanese tonearms to consider. The Micro Seiki MAX-237/282 series is highly regarded but very pricey. And if it is usability you're after, you might also look at the Audiocraft AC-3300/4400 series (10" and 12" respectively).

This system with two point bearing offered a wide choice of interchangeable armpipes: three straight pipes with fixed headshells for different effective mass, an S-pipe with universal SME bajonet and even dedicated pipes for EMT TSD and Ortofon SPU A type cartridges. Also variable oil damping and a VTA tower, similar to the Reed.

In my experience this tonearm will accomodate just about every cartridge you can imagine, both modern and 'old school'. It is the most universal tonearm system I own. It's also an absolute joy to use and sounds terrific. I have tried my Colibri in the AC-4400, using the lightest straight armpipe and sonically it is at least on a par with Reed 3P.

Unfortunately a 'fully decked' AC-4400 isn't exactly cheap either, but at least you can spread the cost, adding more armpipes and counterweights as you go along. These can still be found in Japan as separate items. The more common (and thus cheaper) armpipes of the earlier AC-3000/4000 series - in black or silver - will fit as well.

If I was forced, I'd choose it over the Reed 3P and FR64s.

It is true that used FR64s samples are very old and not perfect.
One of the reason i bought absolutely perfect Ikeda IT-345 old version.
Composite of materials for resonance control and better bearings, fully compatible with B-60 vta base or N-60 stabilizer. Adjustment is very easy.

Dear @kanchi647 : I can't know why with so many today tonearms designs you are looking for the WORST vintage tonearms ever and I mean it.

Today: Triplanar, Durand latest gimball design, SME, Kuzma 4point, Reed, Schroeder, Thales, VPI gimball design, Da Vinci, etc. etc.

If you look for vintage then the best are: MS MAX 282, Technics EPA 100 and the 100MK2 or the 501, Lustre GST-801, AT 1010, etc.

Any of those tonearms outperforms any of the ones you asked for . The FR are undamped tonearms when all the other I mentioned here are very well damped designs and were designed that way because cartridges ( any ) ask for that damping no matters what.

Btw, today exist a lot better cartridges than the SPU or Koetsu and one of them is the Vdh ones.

Regards and enjoy the MUSIC NOT DISTORTIONS,
R.

What do you all think about Osiris tonearm which is held by a magnet.. that’s pretty