Specifications

©DAGOGO 2010 – special reprint by permission. Page 10
However, the GAIN feature of the CD-5 allows more conservatively (under 150wpc), or even
pusillanimously rated (under 50wpc), amps to be juiced in terms of dynamic power. The effect is
heard immediately when the toggle on the back of the CD-5 is moved from the 4V default output
position to Low (6V), then to High (8v). The switch can be adjusted on the fly, however, I
strongly recommend doing so at low listening level. The sound will cut out only momentarily
while the switch resets. Making the adjustment while standing to the side of these panel
speakers, the distinction was easily audible. I had a pair of audiophile friends over to hear the rig
with the Ayon and as I adjusted the switch they immediately said, “I can hear that!”
I’ll describe the effect as an illuminating of the sound, nearly like a three-way switch on a lamp –
more of the same but at a higher intensity. It’s an interesting phenomenon as the sound thins ever
so slightly, but sounds more corporeal at the same time. Think of it like make up on a woman; if
it’s caked on she’ll look like a mannequin, but if it’s thinner more of her skin and natural
complexion shows through, a much more desirable result. In addition, there is an inflation of the
system’s acoustic envelope. Whereas the sound stage might be considered about 10 feet wide
perceptually, with additional gain it expands to about 12-14 feet wide and deepens considerably.
The GAIN settings arepowerful in effect, such that I chose not to use the High Gain setting with
the King. The exploded soundstage was so expanded with these panel speakers that the King
made it seem too wide, almost as though the solidity of the instrument or voice was being
atomized and the localization of the voice or instrument in the center of the field expanded too
far. The Off, or null, setting was perfect for the King for most music. However, I did notice that
quiet pieces, simpler works of solo instrument or ensembles, benefited by upping the gain from
default (4V) to the Low setting (6V). On lilting songs like Erin Bode’s “Chasin’ After You”, one
could hear so much more of her inflection and intonation that it was thrilling! In the same way
that sitting at a sporting event in the upper seats is not as involving as being seated in the lower
stands, one can consider the GAIN switch to allow you to “switch seats”, moving closer to the
performers with each increase in gain.
However, there is a limit in any given system to the amount of gain which contributes positively.
After a certain point, the sense of power begins to corrupt, and we all know what absolute power
does! Taking the GAIN setting to the High position resulted in an overage of intensity whereby
bass notes began to ring a bit too much, the treble become too spatial, the voice a bit vacuous.
This would be expected as I was working with powerful amps. One can easily find their own
perfect setting, and I found that I was not often adjusting the switch; once set it could be counted
on to sound satisfying for all genres of music. I can foresee many people simply setting it once
and forgetting it, while tweakers would be in their glory discovering how every artist would play
given the different settings.