@ddk
for obvious reasons the listening session with Kedar was done without NBS cables in the signal path. One NBS Black label III powerchord is still in use (in front of the powersplitter for the digital ) but not for analogue. Actual the most cables are just pure copper from a small cable manufacturer in Germany , some others are XLO signature ( like the speakercables)
I tried different headshells on the Ikeda 407. I was not satisfied with any headshell from wood or with wood as damping add on (like the Jelco/Koetsu headshell). I had positive results with yamamoto graphite and titanium headshells, but many carts are not heavy enough to balance the graphite version, as the Ikeda counterweight is very heavy.
Finally I have to say, that the original Ikeda headshell is not too bad and as the chrome look fits perfectly to the arm, I decided to use the original one. I love the look & style & feel of the Ikeda 407.
The „best“ headshell might be the TechDas Titanium version, as Nishikawa san was so proud to explain to me the unique Titanium Design he (and his team) developed. But I never tried it, the headshell is very (too) expensive in Germany.
To make my personal comparisons of „undamped“ tonearm and „damped“ tonearm versions more clear to me, I bought a FR64fx version.
So from next week onwards I can compare the solidsteel FR64s and the aluminium FR64fx. Both arms are identical, apart from the used material and the damping, which goes along the applied design with this material. From that point of view, the FR64/66fx tonearms are more close to the Ikeda tonearms than the former FR64/66s types.
Both of my FR 64 are wired with the factory silver wiring.
As I am using the FR B-60 VTA lifter on my FR64, the tonearm / headshell change will be fast and precisely, will be fun to learn more about the energy management from Cart to headshell to Tonearm on my Micro.
(I am also looking to buy a FR66s type of arm, but (as already described) hard
to find a good one , as they are like 35 years old)
