Tonearm recommendation

Hello all,
First, sorry it took so long to get back. Still, don't have any time to stay awhile now, so I'll be back later. Thanks to all who responded so far. I will fill in some missing info on my system later, and add further thoughts and questions.
First though,
Rauliruegas,
Obviously, you are no longer a fan of the FR66s ( though it appears you were in the past ), but you claim higher distortion levels for the FR arms over other arms. I'm wondering if you have, other than your IMHO, any empirical data to back up your thoughts. Have you, or anyone else that you know of or whose studies you have read and analyzed, actually done any tests that show increased distortion levels or compromised frequency balances on the FR66s compared to any tonearms you like, or any other for that matter.
I would dearly like to see some real data, as my ears and experience tell me something different ( My ears are with you on this one Halcro ). And, as we all know, while the final proof for each of us is in the listening, do you have any real data you could forward to us  other than your IMHO ( I, and I'm sure others, would dearly love to see it ).
So, if you have any real data ( and I hope you do ), please cite it.

Cheers, and enjoy the music,

Crazy Bill

Hi Crazy Bill,

"Real Data" for tonearms......🙏🏽❓
We do have data for cartridges....and for amps....and for speakers.....and even some vague voodoo mumblings for interconnects and power cords....yet that doesn't negate the need for 'subjective listening' (preferably in one's own system).
Now you want 'data' for tonearms....⁉️
I think this is last bastion of audio componentry which has NEVER had acceptable (agreed upon) objective testing criteria.
I think with tonearms.....'time' is the real Referee and that's why arms like the FR-66s and 64s, Micro Seiki Max 282, SAEC WE-8000/ST, Dynavector DV507/II, 505, 501, are still in demand world-wide...even against the very best and latest modern iterations.
There is a large group of audio aficionados who admire the FR-66s and there is a small band of audio aficionados who perceive some flaws.
Only you yourself can decide.
As Detonarm has written many times....the FR-66s is the ne plus ultra of tonearms in his vast experience, and in the opinion of Dietrich Brakemeier of Acoustical Systems who has designed the Axiom tonearm http://www.arche-headshell.de/tonearms/
the FR-66s is still the finest tonearm ever made.
Now HE is one True Audio Expert I have faith in....👍

Dear wrm0325: Please don’t ask for something that no one have on hand ever and I mean not only amateurs like you and me but professionals in audio.

""" the final proof for each of us is in the listening """

this depends mainly in which step of the audio/music ladder you are because if youare a rookie then what you listening has very small value or even if you are at average level.

Now, can you distinguish/discriminate between diferent kind of distotions? say: wrong cartridge overhang vs wrong SRA? , if you can please give me an example of them: wich are the differences during listening? what is the kind of sound you percieves?

If you can’t do it then keep with you the 66. It’s not important wich tonearm you own as is not important which cartridges you own.

I know your answer because you agree with halcro who was one of those " satisfied " DaVinci tonearm owners. DaVinci fixed its mistakes but halcro did not and as many other of us make other mistake with the 66, this time worst than with the DaVinci and he is not alone.

We can´t  talk about if you can’t discriminate between musical information and subtle distortions and its harmonics.

Regards and enjoy the music,
R.

Dear halcro: """ that’s why arms like the FR-66s and 64s, Micro Seiki Max 282, SAEC WE-8000/ST, Dynavector DV507/II, 505, 501, are still in demand world-wide...even against the very best and latest modern iterations """

that’s only say the level of audio/music ignorance that even today exist in our beloved hobby and nothing more than ignorance.

Ignorance to don’t understand what is happening down there: cartridge/LP/tonearm/TT combo, to not understand the cartridge/LP needs and the delicated role that tonearm plays in this " picture ". So delicated that the best that a " perfect " arm can do is to mantain at minimum all the generated distortions and we can’t even dream with a " perfect " tonearm: just can’t exist, so figure what we have in each of our tonearms!!!! and the damage that all does to the cartridge signal and you are in favor of the " champ " of those distortions!

Nothing wrong with that, as I said somwhere that’s each one privilege: have fun with.

I learn each single day and I don’t turn back my face for what I left but go a head to the audio heaven and the only way to find out is growing  up thinking several times " out of the box ".

For many years I was deffending those heavy metal good looking tonearms till I understand what is happening " down there ".

Regards and enjoy the music,
R.

Dear chackster:  """  high mass tonearm made especially for low compliance """"

could you explain this and its importance?, I think is critical during playback.

Thank's in advance.

regards and enjoy the music,
R.