Kanemoto (兼元) worked at Akasaka in Province, and the line takes its place among the smiths of the late period whom the registers under the - tradition centered on Seki. The place the family within the (Sue-) milieu, naming Kanemoto alongside Kanesada as the two leading figures of the province in this era; one note instead pairs the name with Kaneshiba, and another with Izumi no Kami Kaneshige, marking the company the line kept. The name passed through successive generations, and the records repeatedly state that distinguishing each generation has not been definitively settled. Dated long signatures reading "Nōshū Akasaka-jū Kanemoto" survive from the Meiō, Bunki, Daiei, Kyōroku, and Eishō eras, while two-character signatures bear no date. The first generation is documented through pieces dated Meiō 6, 8, 9, and 10, all giving the Akasaka residence; the most accomplished hand, and the one the world singles out under the sobriquet "Magoroku Kanemoto," is the second generation.
The shared vocabulary of the line is the (three-cedar) , a sequence of linked pointed crests that rise and fall in groups. The ground is - through and through: mixed with and flowing , tending toward standing grain (), with fine , , and a whitish that the call out again and again. The temper mixes (pointed elements) and , is -dominant with , and runs , , and occasional ; the is typically turning in , often described as Jizō-like with or a falling . The chief means of separating the second generation from the later line is regularity: as the generations descend, the pointed crests grow sharply angular and standardized, whereas Magoroku's is deliberately uneven, the heads rounded in places, and the pattern shifts freely into nihonsugi, yonsugi, and gosugi groupings of two, four, and five. The records describe this as a gyōsō (cursive, free) manner. The first generation, by contrast, does not emphasize at all, favoring mixed with gunome-chōji and at times and ; both generations also made , and one is an uncommon - in elegant straight temper that evokes Kaneyuki.
For , the line is read through the standing grain, the , and above all the irregular , with the leaning a noted point: the records observe that the model and these blades share a that falls over. Named and documented works recur across the register. A dated Kyōroku 1 (1528) carries the full Akasaka signature and is valued as documentary source material, dated two-character pieces being scarce. A bearing a inscription on the reverse is known as "Sasatsuyu Kanemoto" and is recorded in the hands of Makishima Kenmotsu Akishige, of the clan as Furuta Kosukezaemon. The "Aoki Kanemoto," a second-generation work, is said to be the sword with which Aoki Ichishige, a retainer of Tokugawa Ieyasu, killed Magara Masataka of the Asakura side at the Battle of Anegawa in Genki 1 (1570). A further carries a Genna 1 (1615) cutting-test inscription by Nakagawa Saheita reading "two bodies," and one descended in the Matsudaira family. Two signed Kanemoto sit in the Imperial Collection (). Across these works the line is registered as the cutting-edged representative of , its hand recognized wherever the three-cedar temper runs uneven over standing steel.