SOTA NOVA, HR-X VPI, Technics 1200G recommendations?

I think the FR64fx is built just like an FR64S, only with lighter materials, but for sure the FR64S is a dynamic balance tonearm, not a static balance type.

Right @lewm
Same dynamic balance spring can be found if "FX" models.
What’s new in 66 FX series is banana shaped arm tube (unique for 66fx only).

@lewm, boy Lou to much coffee today? 
First, as for removable head shells, you not only have the mass of the head shell but the mass of the contacts the socket and the retaining lock ring on the tonearm. A situation like an SME, Reed or Schroder is obviously much lighter. This unnecessary mass, there only for your convenience is at the end of the arm where it contributes more to the effective mass of the arm and the arms polar moment of inertia making more difficult to move. This is not my opinion Lou but obvious fact in pretty simple engineering  term. 
We seem to be confused on terms. A dynamic balanced arm has a counterweight that is set for balance then tracking force is added by a spring or similar mechanism. This has nothing to do with static vs neutral balance. A neutral balance arm which is the ideal has a line that goes through the center of mass of the counterweight through the vertical bearing and the center of mass of the cartridge. A neutral balance arm will not change VTA with elevation. When you position it anywhere vertically it will stay there. Examples are the Tri-Planar, the Reed 2G, the Schroder CB and some of the more expensive Origin Live arms.
Static balance or stable balance arms if you draw a line through the center of mass of the counter weight and the vertical bearing that line will go above the center of mass of the cartridge. These arms will change VTF with elevation and if you position them high and let go they will hunt up and down looking for the balance point and eventually they will stop at a "stable" balance point. Neutral balance arms simply follow the record much better. None of this is my opinion. Ed Villchur had this figured out when I was knee high to a grasshopper. 
Why are you arguing about the vertical bearing being at record level? Warp wow is an obvious problem. If you don't think so take one of your test records and play a test tone with a nickel under the edge of the record. Pretty impressive! Not only can warps be a Nickle high but they are much more acute. Having vacuum clamping helps negate this problem. Raising the vertical bearing above the record surface makes warp wow worse. Again, not my opinion. The best tonearms pay homage to these design issues. The FR's may be nicely made but they are not good designs. Neither is the SAT arm for that matter. Go figure. I buy a tonearm for the best performance under all conditions. If that sacrifices convenience so be it. Heavy tonearms and stiff cartridges increase record wear and distortion during playback as the increased inertia causes the cantilever to move instead of the tonearm. I have seem oscilloscope traces showing this clearly. Some have hypothesized that this is the reason some tangential  arm sound better because they are short, light and have much less inertia, following the record better, generating less distortion. Don't yell at me. Not my study and I have no idea. Makes sense though. 
If you ask Mark Dohmann what is the best sub $20K turntable on the market he will immediately tell you the Sota. He is just as allergic to direct drive tables as I am. His main claim to fame is turntable isolation, isolating the cartridge from vibrations generated by anything other than the record. A suspension is essential for this purpose. I personally would never buy another turntable without an adequate suspension. But, that is me. People buy turntables for reasons other than their performance and stability. 
Don't turn your turntable on and place the tonearm down on the record. Turn the volume up and have a look at your woofers or diaphragm in your case. A woofer will be not be motionless. Not sure about the diaphragm. Don't think I can see mine. Anyway, that woofer motion is environmental rumble. Some people call it room rumble but there are many causes outside of the room like the cement truck traveling down your street.
A properly suspended table will be dead silent. No environmental rumble.

I am all for spirited discussion lewm, and there have been occasions where I have been dead wrong and I do not mind at all learning that I am wrong. It is a great way to learn right.  I hope we can avoid getting bitter about such trivial things. 

This is an excellent primer on turntable and tonearm design. Very thoughtfully done. https://www.youtube.com/watch?v=1rgK0YMsJXM

Yes, if you insist upon using a "crappy" rack, the SOTA suspension will help. And if you have a lot of warped LPs, vacuum clamp or peripheral ring will help. Also, if you are testing nuclear warheads in your listening room.

Yes lewm, if you insist on playing ruler-flat Diana Krall records at 75dB then you're all set - no need for clamping or a great rack or a SOTA that will filter out the energy of girls who are dancing vigorously around my setup while I play loud as hell rock music lol.

Not bitter at all. Just concerned to get the facts straight. What I am trying to point out to you, Mijo, is that you critiqued the design of the FR64S and fx tonearms without really being familiar with the design. The gurus who talked us all out of the idea of a removable headshell back in the 90s were and usually still are fixated on structural rigidity, not moving mass. You might make a case for greater structural rigidity of a fixed headshell, but please, don’t tell me that little knurled knob that tightens the headshell into place or that the ceramic socket that bears the contact pins is adding more than a gram or two in terms of effective mass. If you are so obsessed with that, then the only tonearm for you is an Infinity Black Widow, or the like. Also, one’s choice of cartridge and the screws that hold it in place and the headshell choice itself could have as much of an effect or more usually a greater effect on effective mass than does the added weight of the joint between tonearm wand and headshell. Your argument against removable headshells based on added mass of the joint structure is ridiculous; the arguments citing possible loss of rigidity and the necessary introduction of an additional physical contact in the signal path have more merit. Which tonearm do you think has lower vertical effective mass, any Dynavector, all of which have removable headshells, or a Reed tonearm with a nonremovable headshell where the arm wand is made from Cocobolo? (I am not saying the Reed cannot be superior to a Dynavector, but it won’t be so on the basis of minimizing effective mass. I am the happy owner of a 10.5-inch Reed 2A.) The distribution of the mass of a tonearm/cartridge, from the front end of the cartridge to the rear end of the spindle that holds the CW, defines its effective mass. That’s all been accounted for in the final figure. I am sure you know this. So if there is a gram or two extra mass in the joint, the calculation a priori has taken that into account. You speak as though the mass of the headshell joint is added in post facto.
I am not sure what you are saying about the effects of structure on VTF, but if the center of mass of the CW is in the same plane as the surface of the LP, that will minimize changes in VTF due to record warps. What I am saying is that the FR64S does place the center of mass of the CW in the plane of the surface of the LP. What’s more, the CW is decoupled from the pivot. That reduces the effect of the CW on the inertia of the tonearm. Moreover, the stub that holds the CW on the FR64S is displaced at an angle to the pivot, such that a straight line through its center of mass is parallel to the long axis of the headshell and cartridge. Further, the FR64S has a side weight to provide for lateral balance.

"Heavy tonearms and stiff cartridges increase record wear and distortion during playback as the increased inertia causes the cantilever to move instead of the tonearm." The cantilever is supposed to move; that’s how an audio signal is generated.

I know all about your fondness for SOTA turntables. That’s fine. I hope you recall my mentioning that my Star Sapphire Series III with vacuum clamping was the most speed unstable turntable I have ever owned. I did not appreciate how obvious that problem should have been, until I sold it on in favor of a Notts Hyperspace and added a Walker Audio Motor Controller. That’s why I urge SOTA-philes to go for the Eclipse upgrade.Finally, I use various forms of shock absorbing materials under each of my five turntables; I do not use springs or a formal sprung suspension, but I never said that absorbing floor-borne vibrations is a bad idea. (Please don’t come back at me with airborne vibrations; I know about those too.)