Specifications

©DAGOGO 2010 – special reprint by permission. Page 5

turning on the unit, the soft start “Warm Up” for tube life preservation is fairly rapid and the

player is efficiently prepared for play.

The rear of the unit is stuffed with connection options, included at this price level were the

expected L/R single ended and balanced inputs and outputs, switchable via a toggle switch. The

array of digital input options includes Coaxial, Optical, USB and AES/EBU. Similarly, digital

outputs include SPDIF/RCA, I

S, and AES/EBU. The I

S output is of interest, as it supports fully

24bit/192kHz high resolution data. I would have dearly loved to have on hand the PS Audio

Perfect Wave DAC to try with the CD-5 via the I

S, but as you will see below the circumstances

prevented it.

Some additional surprises include the two sets of analog inputs, labeled LINE 1 and LINE 2. The

manual does not discuss them at length, however they are unusual in that they utilize an A/D

converter to put them in the digital domain, then the signal is upsampled to the full 24

bit/192kHz! Similarly, the USB input is upsampled to 24/192, and according to Charlie Harrison

of Ayon USA, will accept whatever high resolution signal you throw at it. This puts the CD-5 on

similar turf with the PS Audio Perfect Wave, in converting disparate sources to a common

standard. I have been futzing lately with an inexpensive analogue rig and was very pleased by

the quality of sound sending the phono preamp’s outputs to the ANALOGUE IN of the CD-5.

While it may seem incredible that an analogue signal would be converted twice, the result was

highly satisfactory. With the CD-5, one has the luxury of being able to subject all sources to

upsampling. Sources are not automatically subject to upsampling, it is optional and can be

engaged for all inputs via the remote control.

The red “Phase” light which was found on the CD-2 appears again. The manual notes clearly that

its function is to indicate proper electrical phase and is not applicable to North American

installations. Oddly, a Xindak FP-Gold power cord I had attached caused the red light to glow,

and when I swapped it out for a Wireworld Silver Electra the light went off. It made me wonder

if the Xindak was cross-wired so as to have reversed polarity, and how much it contributed to the

Wireworld power cord sounding better. Charlie indicated that the LED in the sensor is extremely

sensitive and seems to even respond to the electrical flow of individual cords differently. Who

knows, maybe the light should be seen as a cable quality indicator?

Finally, one of my favoritefeatures is the GAIN switch, which allows one to choose either Low

or High gain. Interestingly, this switch has three settings, though only two are labeled. The

lowest position being unmarked is set at 4V output, while the middle position “Low” is at 6V and

the “High” at 8V. The Gain feature has the effect of causing lower-power amps, such as single

ended triode (SET) amps, to be seen by speakers as having much more power. Consequently,

lower efficiency speakers sound much more like higher efficiency speakers. Says Gerhard of the

Gain feature, “…you can put more signal power in a SET driver stage….” Below I will discuss

the benefits of this feature in my usage of the CD-5.

Internally, the player has a full compliment of mechanical isolation goodies; absorber/damping

feet, anti-resonance-damped mounted gold circuit boards and a suspension system isolating the

CD….. Phillips CD-Pro 2 transport, four Burr Brown 1704K D/A chips, said by Gerhard to be,