FR66S vs Ikeda IT-407 vs FR66FX

My Reed 3p has fixed headshell, but i must say that latest version comes with special headshells that can be changed easily. Nandric ordered custom made shells for his Reed. With my first version of 3p it’s impossible.

With sme type headshells it’s more fun to swap cartridges for sure.

The difference between FR-64s and FR-66s is the length of the armwand as far as i know. I’m wondering why no one never offered a rebuild of 64s with longer (stainless steel) custom made armwand? The difference in price between 64s and 66s is so huge, but in fact this is ONLY the length of the armwand you’re paying many thousand dollars for (because B-60 can be found separately). It’s so difficult to disassemble one armwand and replace it with longer custom made armwand (same stainless steel material) ? It will save you $3000 at least.

@nandric what you think ? 

Are you saying the Reed 3p and Schroeder tonearms are better than 64/66S everything else being equal?
how about early version IT-407 vs 64/66S?

My version of Ikeda IT-345 is earlier version (matte finishing), not later CR version (they are gloss). This is wonderful tonearm!

If you like mechanics you can’t chose just one tonearm, this is a problem, i want to have all of them. It’s really impossible to say which one is better, because they are made for different cartridges (from different eras). And i have two turntables designed for 2 tonearms each, so 4 tonearms in use.

I never tried Schroeder, but this is another highly regarded modern high-end tonearm and Frank is a nice guy, you can watch interview with him on youtube (he’s a friend of Peter Ledermann).

Another reason why i can’t say one of my tonearm is better than another (Reed 3p, Ikeda IT-345, FR64s, FR64fx...) is because i do not use them for 10 years next to each other, i know that our preferences depends on many factors (including other components in the chain and even our own mood in different period of time). I am still in process. But those 4 tonearms is what i would like to keep. At the moment i am using Lustre GST-801 with Miyabi MCA more often than anything else. Some older audiophiles have much longer experience with tonearms and i believe they can make more categorical statement about which one is the best/better, but still it is just a personal opinion, because our systems always different (often completely different).

Reed 3p was my first modern high-end tonearm and i’ve been using it for a long time with MC and MM cartridges, this tonearm is wonderful, the effective mass of my model is 18g and it was the heaviest one. FR-64s mass is 35g, so as you can see they are totally different. Prior to Reed i’ve been using Technics EPA-100

I owned at least 10 FR-64S. Since the 80is. Never longed for 66S
because I was in love with 64S and consider this one as an beauty
and 66 as an beast . I don't believe that 10 " arm is lesser than 12"
arm. Besides the FR-64S can be made less heavy with 170 g.
weight and lighter headshells. But to get an perfect sample one
need to buy many and exchange some parts which lost the spring
on fastening screws together with plastic peace on their ''nose''
to protect aluminum scale and steel at the opposite sides. I now
own the copper and silver (inside) kinds.
My Reed 3 P is , in some way, similar to Dertonarm 'Arche'' headshell. 
By Arche one can buy additional insert pieces on which
the cart is fastened. So one can use the same frame for as many
carts one wants .By Reed 3 P one can change in similar way
the as ''insert piece'' made headhells and pre-adjust carts on
them as if one owns more headhells than one.
My experience with Ikeda was an mixed blessing. Not as easy to
adjust and use as FR-64S and not better sounding. So I 
sold Ikeda and kept (both) FR-64 S. Also easy by cart exchange. 
When FR 64/66 FX was produced the argument (from German
importer)   was that FR-64/ 66 was much more difficult to produce
because hardening steel was much more difficult to work with
in comparison with aluminum. The same was the case with SME
arms. The first series were made from steel the later from aluminum.
I don't want to suggest that the same reason apply for Ikeda 345
or other Ikeda versions (grin). 

Of course there are more 'classic' Japanese tonearms to consider. The Micro Seiki MAX-237/282 series is highly regarded but very pricey. And if it is usability you're after, you might also look at the Audiocraft AC-3300/4400 series (10" and 12" respectively).

This system with two point bearing offered a wide choice of interchangeable armpipes: three straight pipes with fixed headshells for different effective mass, an S-pipe with universal SME bajonet and even dedicated pipes for EMT TSD and Ortofon SPU A type cartridges. Also variable oil damping and a VTA tower, similar to the Reed.

In my experience this tonearm will accomodate just about every cartridge you can imagine, both modern and 'old school'. It is the most universal tonearm system I own. It's also an absolute joy to use and sounds terrific. I have tried my Colibri in the AC-4400, using the lightest straight armpipe and sonically it is at least on a par with Reed 3P.

Unfortunately a 'fully decked' AC-4400 isn't exactly cheap either, but at least you can spread the cost, adding more armpipes and counterweights as you go along. These can still be found in Japan as separate items. The more common (and thus cheaper) armpipes of the earlier AC-3000/4000 series - in black or silver - will fit as well.

If I was forced, I'd choose it over the Reed 3P and FR64s.