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

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.)

Hey @lewm, what's your ranking on amazon for the book you just wrote?

TIME OUT!!! Round over. Everyone back to there corners. I can't bare to see this thread degrade.
@chungjh , I may be somewhat unique relative to this conversation because I've owned close to all 3 of what you're considering. Over the last decade, my turntable has evolved from VPI TNT6HR w/12.5, 12.7 arm to Technics SP10MkII w/ Technics EPA-250 arm and now to Sota Nova Series VI w/Eclipse speed control package & Audiomods Series V arm w/micrometer. 
IHME, you've got two options, the Sota & Technics. Both I would rank far ahead of the VPI. Between those two, a number of valid points have been made, and it's gonna take some soul searching about your personal preferences to reach a decision. 

Sota pros: Great personal support if you need it. That includes custom armboards for any tonearm you choose now and later. Fabulous wood cabinet options, if that's your thing. See my system pics :-) Vacuum hold-down & clamping system is proven, and hard to beat. The suspension is proven and hard to beat. Heck, after trying 10 clamps on my Technics, I ended choosing the Sota clamp. Upgradability to future enhancements protects your investment. Agree that the structural integrity improvements are worthwhile. Mag lev platter is a joy and not the exaggerated quirk some may be envisioning. 
Of course my comments on SQ reflect the arm & cart too...so YMMV, but I find it smooth, effortless, natural with great musicality. It totally gets out of the way and lets you focus on the music. Speed stability is great with the Eclipse controller & tachometer.
Listening to Nick Cave - Alone at Alexandra Palace. It's so spooky and engaging, I keep pausing my typing because it's demanding my attention. 

Sota cons: I don't love the interface UX design of the new buttons. One button toggles 33/45 with short press and also power on/off when depressed longer. It remembers the speed used last. Occasionally I find I've inadvertently switched speed. A minor quibble, but I'd prefer separate buttons for 33 vs 45, like some of the older models. Typical belt drive issues that plague them all; with belt wear over time, speed stability is at risk; the controller offsets this IMHO. 

Technics pros(SP10mkII in Technics obsidian plinth) instant start/stop, high torque, rock solid speed stability. Big, fast, dynamic sound. The removable headshell on the EPA-250 made for easy cartridge switching if you're into that. I had a lot of fun experimenting & comparing many carts when I owned my Technics. If you're into tweaking, your efforts will be rewarded.

Technics cons: Really needs pricey/rare-ish aftermarket(e.g. copper) platter mat to sound it's best. Caution: your final platter height may affect your tonearm mounting as it relates to height/VTA. No suspension. Really needs high quality platform/rack and/or isolation. Aftermarket platter rings are not an option with stock platter, warped LPs may be an issue. Armboard fit/finish varies widely, depending on source. Overall materials look/feel didn't strike me as high end, if that matters to you; it's plain with looks that give no indication of its performance. It's a far cry from the gorgeous variants you'll see from Steve Dobbins or Oswalds Mill. 

VPI - PM me if you want my thoughts. Let's just say I've owned them, set them up for friends, dealt with them over numerous setup/service questions and IMHO, they aren't in this day and age in the same league. 

Cheers,
Spencer

@sbank 

Seems like you are making all valid points. What tonearm/cartridge are you using with your SOTA?