I second your use of the Furutech, but, having had the Gold and Rhodium outlets, I would suggest skipping over to the NCF generation. Furutech has a "cool" sound to it (the interconnects and speaker cable are the same), and there is slightly more orchestral "color" to the NCF second generation outlets. Still "cool"- sounding, but there is a bit more color to acoustic instruments.
As for the OP: I don’t think anyone can predict the results of a power cord. I have had Nordost Valhalla, Tyr and Tyr 2, Frey and Frey 2, most Shunyata (top of the line) power cord: Sigma NR, Sigma NR V2, Anaconda, etc. You get the picture.
Anyway, I usually start with the CD player, as that is the source, and it works fine. However, I also found that my Venom NR V10 on the CD player sounded as good as Anaconda. I attributed that to the CD player’s limitations (it was my most favored Arcam FMJ CD23). A very good CD player, but not a ne-plus-ultra player. Going to the Sigma NR was overkill: the Arcam couldn’t demonstrate everything the Sigma could do, although moving the power cord to the ASR Emitter Exclusive certainly allowed the system to shine.
You’ll have to do this on your own. My only suggestion (which I’m sure others have already said) is to use the most minimally miked music you have and make sure it’s acoustic instruments if at all possible. Highly "processed" music probably is too engineered to allow a component to show its true mettle. I finally realized that this is why the "snake oil" brigade believes what they do: they are (mostly) unfamiliar with acoustic instruments and they try to make judgements off a poorly engineered recording (if they even use recordings). Adele’s ’21’ sounds reasonably decent on a $30k system, as does Amy Winehouse (those were NOT great recordings), whereas a Mercury Living Presence Stravinsky CD sounds fantastic on the same system. The whole High End was formed by people wanting to hear a Steinway piano sound like a Steinway, and not a Bosendorfer. I think it gets forgotten about why the High End even blossomed. Almost every audiophile designer 40 or 50 years ago used acoustic instruments to design speakers, amps, electronics. That’s why older music from the 40s through the 80s usually sounds better than more modern music: fewer mics, WAY less engineering tricks and mostly acoustic instruments. It also explains the "my-friends-and-I-went-to-listen-and-we-didn’t-hear-anything" experiences.
