FR 64s comparison Ikeda.

I have decided to go back to a FR 64s or change to an Ikeda tonearm.
Although I know the FR well (with SPU and FR 7 & 702) I have not heard the Ikeda. Or any other high mass arm suggestions?

Does anyone have experience of both? If so I will much appreciate hearing from you here or by eMail.

[I use an original Kondo Audionote Io, and a vastly modded SP10. (All power/logic etc boards now off chassis...MUCH quiter, more dynamic, controlled etc etc). 211 DHT, Horns and OB @ 94Db & 96Db]
Dear Impulseh2: The Ikeda 407 and Dyna DV-507 could be good matching for that cartridge or one of the new Ortofon tonearms:

Regards and enjoy the music.
Sorry to revive an old thread, but I wonder if anyone had an answer to Impulseh2 question.

In other forums I've met some impressions about strange geometry of the both arms:

FR64S: "The geometry is odd in that any cart I've used ends up skewed in the headshell even using their own alignment with null points at 59.2 & 120.4, Baerwald should offer the least distorsion but again the cart is skewed. This really makes me wonder when I fit the SPU Royal with the replicant 100 stylus as there's no way of adjusting offset angle that the other carts need for alignment. Even though FR produced the FR-7 with a line contact stylus for use in the 64/66 which is similar in that offset angle is not adjustable I'm starting to doubt if an SPU is compatable with the geometry of the FR64s."

Ikeda 407: "It was nicely made, however I was not convinced the geometry was correct as the armward curve/headshell angle in the armwand looks insufficient compared to other 12" arms, plus it seems to have some peculiar Japanese alignment."

Ikeda 407 :"The outer null point is not possible to reach, but think because of the length of the arm it does not matter that much. The sound with this setting is better than modifying to the baerwald or IEC norm with the two null points and the cartridge which is not parallel.I think it's not possible to put that 2 null points without turning the cartridge in the headshell."

About FR64S geometry I found Dertonarm's advice: "Set up with the Denessen Tractor and a pivot-bearing distance of 231.5 mm the FR-64s will bring you as close to perfecting in pivot tonearm geometry as is possible with a tonearm of about 10" effective length."

So, my questions are:

Do we have the right concept and the right Protractor for seting up the Ikeda 407?

If we take the above only for information and we dont believe too much about calculations, manuals and design - how do you find Ikeda 407 and FR64S in their presentation?

Thank you in advance.

When you can hear differences in a good analog Set Up, the 64s is a class of its own. 407 is no match. Listened to it a few times and forgot it, until I read these lines...
Had both at same time and kept the FR64s. Ikeda was ok; heard many poorer stuff but is not the same league as FR.

Dertonearm has done much work with the FR64S, and he provides his advice on set-up free of charge. There seems to be 100% consensus that the FR tonearms are superior at least a little bit to the Ikeda tonearms. So, why not just try the FR64S using Dertonearm's alignment method? You don't have to like it, but you have a solid basis to try it.
Thank you guys! Obviously I got a quick and definite answer from threesome of the most seasoned audiogoners :-)

One more question - I think the Denessen Soundtractor is based on IEC Baerwald. If so, can I use my Dr Feickert Protractor (on Baerwald geometry)?