Tonearm recommendation
The arm and cart work as a team and for the Rosewood and 103r you probably can't better the FR66s. If you want a mono cart, I suspect the same goes for the Miyajima Zero. With a removable headshell it would be relatively easy to switch carts. I was under the impression the Blackbird could accommodate 2 arms. I don't know what's involved, but that might be an option to add a lighter arm? |
Dear jmwick: I'm not against but I don't be in favor of long tonearms that on playing status has more disadvantages that " theoretical " advantages. However I heard 5-6 times the " normal " Kuzma 4point and as its TTs is not only a very good design but very good performer that helps the cartridge to performs at high quality levels. IMHO this is a today very good example of tonearm engineering that as I said works as a cartridge " slave " and not the other way around as the 66 and smilar items. Btw, that Proteus is a " cartridge ". Regards and enjoy the music, R. |
Dear halcro: """
The Market Place is never wrong. """ not really because what exist over the audio market is a high ignorance level and this is normal because customers ( like me. ), as in any kind of market , go for " the today fashion " with out ask before why that audio item is " a fashion " and a must to have. All of us bought and buy " mistakes/errors " audio items and IMHO we have to learn from each one " mistakes ", as a fact that is an important part in our audio/music learning ladder. Of course exist audio people that does not cares about and are sticky till they " die ". Nothing wrong with that. Now that you mentioned, I remember that DaVnci tonearm that was launched with huge shouts and trumpets and every one gone for it and everyone was satisfied with. But things were that in that high price audio item you was/are not abble to make changes on azymuth that's is always a necesity in any cartridge for it can shows at its best. The manufacturer explained why was/is not convenient in its design and if I remember was because a compromise with the rigidity or something like this. Time latter when customers ans reviewers ask for that azymuth tonearm facility they changed and not only that but even ( against their rigidity argument. ) designed with removable headshell. If I remember you was one of those satisfied customers. DaVinci learned ( as I said. ) from their own " mistakes " for not do it again. Regards and enjoy the music, R. |
Dear wrm0325: I don't know what phono stage/linepreamp you own, I know that your TT is a good Denon/Cotter. Now, I owned almost all FR tonearm models including the 66 and years ago ( along other japanese tonearms as SAEC and Micro Seiki/Audiocraft. ) I left goes for very good reasons. In the old times the audio industry and the inside market in japan was focused on those all heavy metal and long tonearms. Was the fashion and over the time gone out japan to the world market with more or less success. Stereophile/TAS reviewers of those times reaslly did not " care " about and their preferences gone for other tonearms but we more or less " rockies " in audio bought those japanese tonearms mentioned and stay with till some of us learned about. The 66 is a non-damped tonearm and builded from metal that as a metal is extremely resonant and instead to damps the cartridge/LP/TT self vibrations/resonances/distortions only magnify it. Yes, almost all those japanese tonearm designs are very good " looking " but that's all especially in the FR's. Read what an expert posted about, a music expert not only an audiophile: https://forum.audiogon.com/discussions/tonearms-longer-than-12-inches/post?postid=1289705#1289705 what am I trying to say here?: that every one that is listening through the 66, IMHO, is listening a lot higher distortions and less music information from the LP grooves. I'm not questioning to any FR tonearm owner that I respect all of them and their privilege is that they like those higher distortions. My reference is live music and that's my home audio system listening quest day by day. For me, the name of the game in our hobby is to lower ( put at minimum. ) all kind of distortions at each link in the audio chain and any one can do it if has the knowledge and skills to discriminate between real music information and those distortions. IMHO, the standards of home audio/music listening quality level is way different to the standards of those very old times. At least my today audio standards quality level. Now and with out knowing your whole audio system and music/sound priorities if I was you I put on sale at once the 66 and stay ( for now. ) with the Jelco and put on sale too that Koetsu and that Denon cartridges. For what you get for that sale I put part of that money ( before to decide for a new tonearm/phono stage. ) for a way better phono cartridge and is where I would like to start. Only an opinion but the " ball " is in your " field " and you are the best judge. Regards and enjoy the music, R. |
The FR-66s is close to the very best arm I have heard.....and I have heard many and owned many, both modern and vintage. The FR-66s is as good as the Continuum Cobra and Copperhead arms with LOMCs and is JUST shaded by them with high compliance MMs......but these two modern arms, whilst being the best I've heard, are a nightmare to set-up and thus changing cartridges on a regular basis is to be avoided. The FR-66s handily saw off the DaVinci 12" Ref and Graham Phantom II and has the added bonus of interchangeable headshells which should NEVER be underestimated. Not only for the ease of swapping in other cartridges....but mainly for the ability to 'tune' a particular cartridge to a particular headshell. This is something all arms with fixed headshells don't allow but IME can make or break the perceived 'sound' of a cartridge. Just see what you can buy a second hand 4 Point for when it is only 2 years old and then see what your 35 year old FR-66s is worth. The Market Place is never wrong...👅 |
