The ‘six-way’ Pico CGB is another product that aims to provide vibration grounding and EMI/RFI grounding as a tool to reduce interactive system faults – significantly lifting musical performance. In essence, the concept and function of the ‘six-way’ is the same as the standard Pico CGB. So rather than repeating all the theories, please see the CGB concept description on the CGB page here..


The standard Component Grounding Blocks (CGB) and Binding Post Grounding Blocks (BPGB)come in a 220mm x 105mm x 45mm module, with two grounding sockets, plus leads. These have the benefit that you can use them in different locations around your system, particularly if you have a ‘distributed system’ say, such as a high-quality music streamer as a one-box front end, feeding power amps (with long interconnects) on the floor behind your speakers. Here you might use one standard CGB to ground the streamer and a pair of BPGBs, one for each power amp.

But this is not the scenario for every system and it might be the case, in a more compact multi-box system, where trying to find shelf space for two or three CGBs could be a problem. Add to that count a pair of BPGBs and the problem gets bigger. So this is why we’ve made the ‘six-way’.


The ‘six-way’ CGB measures 365mm x 132mm x 120mm (LWH), and is intended to be placed on the floor – it’s actually in the same case as the Taga mains distribution block (more on that later). Along the top panel are the six RCA input sockets. And it comes with six 1.0m Pico leads as standard, with RCA connectors on one end and either RCA, XLR, spades, bananas or crocodile clips on the other (customer defines lengths and connectors on order). The cables are made using a single high-quality silver-plated OFC wire with PTFE insulation. It’s quite a thick gauge to act as a good acoustic conductor and the cables are sleeved with our proprietary EMI absorptive tubing.

Inside the ‘six-way’ the ground of each socket is connected to a feed wire that enters an internal module, providing a low impedance acoustic route into an advanced labyrinth structure. These modules are essentially the same as a standard CGB, with the same anti-RFI/EMI treatment. Note that signal pins on the leads, and the sockets, are not connected to anything, and each ground lead remains separate within the pico so you can use them on amp outputs without shorting.

There are actually four grounding modules within the ‘six-way’ case. Three of these each deal with a pair of the feeds from the top-mounted sockets. The fourth module has a feed wire from each of the other three modules, so it’s acting like a secondary daisy-chained labyrinth. When designing the ‘six-way’ we could see that each pair of sockets, and their associated module could not be completely isolated from each other in the way you would achieve using three separate Standard CGBs. So we have countered this by using the technique of cascaded acoustic labyrinths instead. In fact, all the modules are therefore linked through this fourth module, producing a complex cascade labyrinth which all the input feeds ‘see’.

Use And Sound Quality

The decision making process for using the ‘six-way’ is similar to that you would employ if using separate Standard CGBs. The main issue is to identify what areas of your system might benefit from grounding treatment, and what unused sockets are available. With the six available lines you should of course be looking for six points that will access both the digital and analogue grounds in your system, or maybe the grounds of more than one source. It’s not mandatory to go into both a left and right analogue socket on a component because the ground inside will almost certainly be common, so you can go with just one lead into each component. But with an integrated CD player say, you may be able to put one line into a spare analogue output socket and one line into a spare digital socket, getting the Pico effect directly into those different sections of the player (remember, you’re draining acoustics too). And of course you can use some of your Pico lines on one or more of the outputs of your power amp.

The ‘six-way’ brings significant musical improvements to a system. Similar to using several Standard CGBs or BPGBs, there is a big step-up in system transparency and speed. The reduction in microphony and RFI intermodulation reduces harshness and glare, allowing lots more tonal subtlety to come through. As the speed and intensity of music increases, the system remains far more capable of relaying the intended drama and emotion of the piece. Image focus is significantly improved too and there is a great sense of an overall reduction in the noise floor.