Fidelity Research FR-64x

The FR 66/64 S (''S'' for steel) were produced from hardened steel

and become to expensive to produce. That is why Ikeda decided

to produce FR 66/64 FX made from aluminum which is more easy

and much cheaper to produce. Curious but true the same happened

with SME 3009 and 3012. The first version was produced from steel

the later from aluminum.

Copper or silver question need to be put in the context of time.

As function of time copper corrode so after all those years (80is)one

need to check copper wire version. My FR low impedance SUT

output wire was black from corrosion.

@chakster , Your Lustre 801 has only the (thin) armwand

made from steel. The same apply for the SME ''R'' kinds.

The effective mass by FR-66/64 S depends from the used

headshell and counterweight. I never used any of the FR

headshells because I consider them all as worthless.

For the FR 66/64 series 3 different counterweights are made:

standard, 170 g and 250 g. One should use the weight which

can be moved nearest to the pivot. The least inertia is the

result. The worst headshell is S3 ( 19,5 g). The other are to

short for the usual headshell wire length. So the effective length

is not easy to adjust (stylus ''distance'' to the pivot). I prefer

headshells made from magnesium with ''movable 4 pin connector''.

This kind make azimuth adjustment possible as well the added

space for the stylus adjustment.

@sampsa55 , Thanks for enriching my tonearm collection with

FR-64 fx. I own both 64 S kinds in the sense of silver and copper

wire. I also own Ikeda 345 . Alas not FR64 fx. But I need to start with

 my Sumiko 800 (''the arm''). The arm is designed by physicist David

Fletcher and (hand) made by his master machinist Demian Davidson

from 160 parts. The curious things are: The arm looks like a Breuer

twin but while Breuer refused to make any additional counterweight

for his customers Fletcher designed 6 different counterweights for

his Sumiko. The reason being to provide the right weight for the

carts from 6- till 25 g. This way each individual cart could be adjusted

such that the counterweight would be as near as possible to the

pivot. This seems to be relevant for both: arm mass as well for

the inertia. Lew is very fond about Newton while ''mechanics'' is the

 best established  physical science. As lawyer I need to pretend

to know everything otherwise nobody would be willing to hire me.

In this forum and ''among friends'' I don't need to pretend. So I

hope ''our Lew'' will explain ''the mechanics''. This would be more

in accordance with his eloquence then his modest contribution

about silver oxide versus copper kind (grin).

Dear chakster, I also own the Reed 3 P. Fantastic arm but with

fast headshell. I owned all Reed versions because the designer/

owner was my friend. I was their first customer and ordered the

second tonearm for my Kuzma. This was only possible with an

armpod on the left back side of the Kuzma. So they made their

first armpod for me together with 12'' tonearm because of the

distance to the spindle. But by critical remarks from some Aussie

I realized that an fast headshell is not the right choice for those

who owns many carts. That is why I prefer my FR-64 with Technics

SL 1000,mk2. I need 5 minutes time to change any cart while

for my fast headshell tonearms I need the ''whole day'' to change

a cart. The puristic opinion about the connection wire without any

soldering points looks to me at present very exaggerated.

Dear chakster, As I mentioned Vidmantas the owner/designer

by Reed also made an armpod for my Kuzma. He produces those

as separates since. So you can ask him to make one for you.

Now regarding our friendship. He appointed his daughter in law

as his ''external representative'' so I got her answers to my emails.

Alas this lady has no idea about analog stuff so I lost interest in our

correspondence .

@chakster,  If you can find some ''mechanics'' with CNN lathe

additional counterweights are no problem at all. My Sumiko got

4 extra counterweights this way so I am probably the only person

with all 6 weights. Regarding your FR-64 FX you should try to

also get B-60 (replica) VTA adjuster. To my mind VTA adjuster is an

necessary  instrument.

Sorry chakster, even the silver colored one stays the ''poor

man FR-64 S''.

The German hifi Magazine ''Das Ohr'' ( the ear) was one of

the best ever. In this magazine both FR-64S and FR-64FX are

reviewed by two reviewers ( April , 1984) . The specific

custom by this Magazine was that each item is reviewed by

two reviewers. The conclusion of them both was , in short,

that FR-64 FX is a '' poor man FR-64 S ''.

Dear chakster, the only way ''to know more'' is to try both versions

with your FR-7f. With FR-64 S you can use the ''ordinary weight''.

I hope that our member Syntax who really knows everything better

will ''shine in''.

@mulveling , By the mentioned (German) Magazine the first

recommendation was to change Stevenson in Baerwald geometry.

I have no idea why the most Japanese tonearms followed

 Stevenson. To get Baerwald the spindle-pivot distance need to be

increased to 231.5 mm which result in eff. length of 246 mm.

You can ask Yip by Mint tractor to produce one for you. You

should also provide him with the exact spindle dimension of your

TT because those are not ''identical''.

The VTF adjuster by FR-64 S uses an spring which also provide

dynamic function. This spring is ''loaded with grease'' which can

harden in an cold surroundings or by lack of use. The best way

to cure this is to put the arm in the sun in the window

(aka''watchmaker method''). See btw the post by Lewm.

My own experience with headhells is peculiar because I own

many carts and need consequently many headshells. The

most I own are variations of Jelco ( Zuprime, Sumiko.etc.)

about 13 g , magnesium and with headsehll wire).

For my ''top carts'' I use Orsonic AV-101 (heavy kind), Clear

audio which is Orsonic replica but with very good wire and

the best clips I know. Then for the carts without screw threads

AT headshells with threads at the under side. Those should

have ''movable'' 4 pin connectors for azimuth and stylus

adjustment.

BTW any carpenter can drill the right hole for your B-60.

Dear chakster, I am sure you will be glad to know to own ''bigger

arm'' than you thought. Your FR-64 is an 10'' and not 9 '' tonearm.

228 mm is the distance for the later (aka 227) one inch more is

for the 10''. My tractor is made by Yip specific for the combo SP 10

FR-64s. If I remember well Lewm owns the ''best tractor'' designed

by Dertonarm. He also owns the ''rich man FR-64S'' (grin).

He obviously missed this thread.

Dear chakster, In my FR manual only the small FR-64S (170g)

and heavy FR-64 fx (250g) are mentioned. I own, next to 170g,

also 250 g weight for my FR-64S. The later is according to me

the standard weight. I never needed heavier kind. But do use

the 170 g for light cartridges. I mean MC kinds in my case but

this should also apply for the most MM carts.

Dear chakster, You obviously got the original : 25 mm long and 250

g. weight. Like by B-60 there are also replica weights. The original

has an rubber ring inside and screw with plastic piece with a spring

on its ''nose''.