SCD-XA9000ES SA-CD/CD Player Technical Background

Transcription

1 SCD-XA9000ES SA-CD/CD Player Technical Background Version 3.; May 30, 2003

2 Introduction In 985, the engineers of Sony ES surprised the world of high fidelity. The Sony CDP-650ES was the world's first CD transport with a digital output, enabling unheard-of sound quality and unprecedented flexibility in audio system configuration. In 2003, the engineers of Sony ES have done it again. The SCD-XA9000ES is Sony's first Super Audio CD player to provide an uncompressed digital output for the Super Audio CD's Direct Stream Digital signal. This is an i.ink digital output, compatible not only with Sony's own ST-DA9000ES receiver, but also with latest generation of outboard D/A converters from other high-end audio companies. In this way, the Sony SCD-XA9000ES helps deliver Super Audio CD sound with effortless clarity, transparency, impact and presence. For owners who will connect the player to conventional receivers and amplifiers, Sony has equipped the SCD-XA9000ES with a Tri Power Digital-to-Analog Converter using eighteen separate SA DAC chips that deliver the unprecedented precision of 36 DACs. With either digital or analog outputs, the SCD-XA9000ES establishes a new and altogether higher standard in music reproduction. i.ink Digital Output... Page 3 DSD Decoder SI... Page 7 Audio Technology for Analog Outputs Multi-Channel DSP... Page 8 Speaker Time Alignment... Page 0 Super Audio D/A Converter (SA DAC)... Page Tri Power DAC... Page 6 Audio Circuit Boards... Page 8 Construction & Design Discrete Dual aser Optical Pickup... Page 20 Twin Core Transformers... Page 2 Frame and Beam (FB) Chassis... Page 22 Silver Cascade Design... Page 23 Features and Specifications... Page 24 SCD-XA9000ES White Paper, v 3. Page 2

3 i.ink Digital Output From the initial launch of Super Audio Compact Disc, the -bit DSD pulse train was always converted to analog prior to output. While previous Super Audio CD players did include conventional coaxial and optical digital outputs, these outputs handled CD signals exclusively. The SCD-XA9000ES is Sony's first SA-CD player to provide a digital output for the -bit DSD signal. SA-CD Player Amplifier Speakers SA-CD D/A convert A/D convert DSP D/A convert PF Volume Analog Power Amp Digital Signal Analog Signal Typical SA-CD reproduction involves numerous D/A and A/D conversions. The i.ink digital connection can simplify the signal path. This i.ink digital output is compatible with the i.ink digital input on Sony's own ST-DA9000ES as well as a growing number of outboard D/A converters from other high-end audio companies. The i.ink interface maintains the signal in the digital domain and can protect the signal from repeated D/A and A/D conversions. The i.ink interface also enables a single digital cable to take the place of six analog cables. A portion of the back panel showing the multi-channel analog outputs (upper left), stereo analog outputs (lower left), optical and coaxial digital outputs for CD (center right) and i.ink digital output for Super Audio CD (upper right). SCD-XA9000ES White Paper, v 3. Page 3

4 2 3 4 Internal layout of the SCD-XA9000ES as seen from the back. Notice the -Core power transformers (), the digital circuit (2), the analog audio circuits (3), and the i.ink output circuit (4), near the center of the back panel. The i.ink digital audio interface uses Digital Transmission Content Protection (DTCP), a robust system that protects the music from piracy. The application of the i.ink (IEEE 394) interface for Super Audio Compact Disc is clearly different from and not compatible with previous i.ink interface applications for DV camcorders, PC peripherals and professional digital video systems. You can only connect the SCD-XA9000ES i.ink output to a compatible digital audio input, such as that on the ST-DA9000ES receiver. SCD-XA9000ES White Paper, v 3. Page 4

5 The i.ink output circuit incorporates a dedicated arge Scale Integrated circuit (SI), Sony's CXD320. The design of the interface is exceptional because communicating six streams of MHz digital samples raises exceptional challenges. Conveying -bit signals at such high data rates and synchronizing the signals with the other component's master clock would normally expose the signal to the time-base errors called jitter. These errors translate directly into time-based distortion of the audio waveform. The connection from the SCD-XA9000ES to the ST-DA9000ES receiver overcomes this challenge with the High quality digital Audio Transmission System (HATS). HATS uses "command-based rate control of isochronous data flow" to solve the problem. The system incorporates three principal elements.. Variable-speed transmission from the player. 2. Buffer memory in the receiver. 3. Command signals from the receiver to the player, controlling transmission speed. The receiver continually monitors the amount of audio data in its buffer memory. When the buffer memory reaches its lower limit, the receiver commands the player to increase data transmission speed. When the buffer memory reaches its upper limit, the receiver commands the player to decrease transmission speed. And when the buffer memory is between the upper and lower limits, the receiver commands the player to transmit at normal speed. SCD-XA9000ES White Paper, v 3. Page 5

6 SCD-XA9000ES ST-DA9000ES With Sony HATS, audio data flows from the player to the receiver's buffer memory, according to rate control commands from the receiver. eproduction in the receiver achieves the full time base accuracy of the receiver's quartz crystal master clock. In this way, HATS makes it unnecessary to synchronize a jitter-prone signal with the receiver master clock. Instead, the buffer memory outputs a jitter-free signal at the full quartz-crystal accuracy of the receiver's master clock. You get all the benefits of digital transmission, without exposing the signal to the potential for jitter-induced distortion. SCD-XA9000ES White Paper, v 3. Page 6

7 DSD Decoder SI The SCD-XA9000ES processes and decodes the -bit signal using Sony's CXD2752 DSD decoder SI. This integrated circuit makes intelligent decisions regarding the incoming data to form the -bit audio signal. The SI first reads the Watermark a feature protecting Super Audio Compact Discs from piracy and then decodes the incoming data. The SI uses a buffer memory to take data that's output intermittently from the disc and rearrange it into continuous -bit audio streams. The streams are output according to the master clock signal from the audio circuit board. The SI also reads sub code data such as the Table of Contents, track number, track time, and text. Multi-channel DSD decoding is handled by a Sony arge-scale Integrated circuit (SI), the CXD2752. SCD-XA9000ES White Paper, v 3. Page 7

8 Audio Technology for Analog Outputs While the provision of an i.ink digital interface for Super Audio CD signals is a technological tour de force, compatible equipment is just beginning to become available. Clearly, many owners of the SCD-XA9000ES will be enjoying Super Audio CD through analog outputs. For this reason, Sony has developed sophisticated technology to provide an analog output of superlative linearity, with extraordinary freedom from noise, interference and jitter-induced distortion. The result is unsurpassed music reproduction, no matter which outputs you use. Multi Channel DSP Home theater speaker configurations vary considerably. Some enthusiasts have built upon audiophile-grade stereo systems. These systems may have large, full-range eft and ight speakers that produce bass so deep that any subwoofer would be extraneous. In this case, the eft and ight speakers may well be considerably larger than the Center and Surround speakers. Other systems may have five matching satellite speakers, plus a subwoofer. Some systems may have no Center channel speaker. The SCD-XA9000ES has a Digital Signal Processing (DSP) arge Scale Integrated Circuit (SI) to achieve optimal multi-channel reproduction with all these speaker configurations. The DSP processes the Direct Stream Digital signal in its -bit form, using technology similar to the professional editing systems currently used in the studio to produce Super Audio CDs. The DSP accomplishes three functions when using the analog outputs:. Bass redirection. You can optimize the SCD-XA9000ES output to work with your specific speaker configuration. 2. Channel balance. The Sony ES player can also accommodate differences in speaker efficiency, adjusting the balance between front/surround, front/center and front/subwoofer speakers. 3. Test tone. The SCD-XA9000ES is equipped with a test tone oscillator to confirm connection status and channel balance adjustments. It's easy to access these functions through the front panel menu key. And you can make critical channel-balance adjustments from your actual listening position, using the supplied remote control. If you have an ideal speaker layout, you can use the Direct Mode, which completely bypasses the DSP circuit. Other options include 2-Channel Direct and 2-Channel Direct Subwoofer, ideal for stereo SA-CD playback. SCD-XA9000ES White Paper, v 3. Page 8

9 Engaging Multi-Channel Management selects among seven different speaker configurations, each with adjustable channel balance. Speaker playback mode Playback mode FONT CENTE SUOUND SUB WOOFE Direct full range full range full range yes (level fixed) # level adjustable full range full range full range yes # 2 level adjustable full range full range full range - # 3 level adjustable small small small yes # 4 level adjustable full range small small yes # 5 level adjustable full range small small - # 6 level adjustable full range - full range yes # 7 level adjustable full range - full range - Sony's multi-channel management gives you seven different bass redirection modes, plus channel balance for fine tuning. Multi channel management PAYBACK MODE BAANCE ADJUSTMENT MENU key Multi CH Direct or # front /surrnd # 2 front /center # 3 front /sub wf # 4 # 5 remote controllable # 6 # 7 Two channel management PAYBACK MODE MENU key 2 CH Direct or sub wf Simple menu keys access the different bass redirection modes. And you can fine-tune channel balance by remote control, so you can make critical adjustments from your actual listening position. SCD-XA9000ES White Paper, v 3. Page 9

10 Speaker Time Alignment When Super Audio CD titles are mastered, the engineers create the soundstage for an idealized home speaker configuration. In stereo, that configuration is simple: two identical speakers set an equal distance from the listener. With multi-channel sound, the ideal is slightly more complex. Multi-channel Super Audio CD is designed to conform to an international standard, called ITU-. This envisions that the listener sits in the exact center of a circle of five identical speakers, with each speaker occupying a specified position in the circle. (For the ow Frequency Effects or FE channel, the subwoofer can be flexibly placed outside the circle.) The ITU- circle makes a great reference for studio engineers. But few home environments can accommodate exactly this setup. Even if you did have five identical speakers all the way around, the rectangular shape of most rooms would make it difficult to place all five speakers at an equal distance from the listening position Mastering for Super Audio CD multi-channel sound assumes that speakers will be placed according to the international ITU- standard (left). Unfortunately, most practical listening rooms don't match this standard exactly. Speaker Time Alignment applies a delay to selected speakers to "move" them into proper position (right). In this example, time delay pushes back the apparent position of the S and S speakers to match the, C and speakers. To resolve the problem, Sony enables you to apply a carefully timed delay to each individual speaker. Sony provides this delay in 50-microsecond increments. Because most people can't make the mental leap from microseconds to speaker distance, Sony calibrates the delay as distance, in 5-cm SCD-XA9000ES White Paper, v 3. Page 0

11 (2-inch) increments. Each 50 microseconds of delay "moves" a speaker back 5 cm (2 inches). In this way, Speaker Time Alignment adjusts the "virtual position" of each speaker, enabling you to synchronize the arrival time of sound for all five speakers. You can even change the perceived distance of the subwoofer in relation to the other speakers. With Speaker Time Alignment, you'll experience multi-channel sound as it was meant to be heard. You'll get the effect of perfect speaker placement, even if your actual placement is far less than perfect! Incidentally, this adjustment is not duplicated on most A/V receivers. Some receivers can adjust for speaker distance on the multi-channel signals that are decoded in the receiver itself. But most receivers offer no such adjustment for the 5.-channel analog inputs typically used to reproduce multi-channel Super Audio CD. When using the analog outputs of the SCD-XA9000ES, Multi-Channel Management and Speaker Time Alignment overcome this limitation, providing optimized sound for a wide range of speaker configurations and room configurations. Super Audio D/A Converter (SA DAC) Some fortunate owners will use the SCD-XA9000ES connected via i.ink digital interface to the Sony ST-DA9000ES, in which case the player's internal D/A converters will go unused. However, in the absence of an amplifier or receiver equipped with an i.ink interface, owners will be using the analog outputs of the SCD-XA9000ES, in which case the player's on-board D/A converters will exert a pivotal influence on sound quality. Multi channel Super Audio CDs present the player with six separate channels all recorded with exactly the same superb quality as two-channel Super Audio CD. That's why the SCD-XA9000ES incorporates six channels of Sony's Super Audio D/A Converter (SA DAC). The circuit delivers superlative performance for multi-channel SA-CD, two-channel SA-CD and CD reproduction. CD 6 bit/ fs 8x Oversampling digital filter 24 bit/8 fs Noise shaper bit/64 fs SACD bit/64 fs DSD filter Multi level D/A converter bit/64 fs Sony's Super Audio D/A Converter (SA DAC) does an equally superb job on Compact Disc signals (top) and SA-CD signals (bottom). SCD-XA9000ES White Paper, v 3. Page

12 The converter consists of a single integrated circuit that contains four significant circuits:. 8x oversampling digital filter for CD. Ensures accurate phase linearity and low noise. 2. Noise shaper for CD to further suppress audible noise. The noise shaper also puts out a -bit signal at 64 times the CD sampling frequency (-bit/64 fs). Sixty-four times 44. khz equals MHz, the same sampling frequency as Super Audio CD. In this way, the SA DAC presents both CD and SA-CD signals to the final converter stage in the identical -bit/64 fs form. 3. DSD filter for SA-CD, a digital filter that removes unwanted super high frequency noise by computing raw -bit digital data. By reducing noise in the digital domain, the DSD filter reduces the burden on analog filters and contributes to the uniformity among channels. 4. Multi-level DAC for both SA-CD and CD is a breakthrough design that combines the best attributes of -bit converters and multi-bit converters for sound that is exceptionally transparent, against a background that is phenomenally free from noise. Sony's multi-level digital-to-analog conversion is a significant step forward in audio technology. To appreciate the advance, it's important to understand three types of digital-to-analog converters: multi-bit, -bit and multi-level. Multi level D/A conversion SB MSB 32,768 Multi-bit D/A conversion in a typical early CD player employed 6 switches, corresponding to the 6 bits of the CD sample. Each switch produced a different level of current, according to the significance of the bit. In the 980s, the overwhelming majority of CD players used multi-bit Digital-to-Analog converters (DACs). Also called "ladder type" or "resistor ladder" converters, these designs typically used one resistor switch for each digital bit in the sample. The value of the resistor controlled the amount of SCD-XA9000ES White Paper, v 3. Page 2

13 current that flowed when the switch was On. Each switch produced current proportionate to the value of the corresponding bit. For example, the current for the east Significant Bit (SB) was, the next bit was 2, the next 4, the next 6 and so on up to the 6th or Most Significant Bit (MSB), which had a value of 32,768. While these converters could offer superb dynamic range, they were susceptible to a distortion called nonlinearity. For any given output level, the combination of switches set On and Off would always be the same. In this way, if a switch's current source had an error, that error would always be reflected in the output level and the linearity would always be spoiled in exactly the same way. This problem of errors and nonlinearity was especially important in the MSB, because the MSB is so big in comparison to the other bits (for example, 32,768 times the current of the SB). So even slight errors in the MSB could overwhelm the value of the smaller bits, distorting the musical signal at the zero cross, where the binary digits flip from to These errors are generally masked by the music, when it is loud. But when the music is soft, this problem of "low-level nonlinearity" can impart a grit or hardness to the music that university researchers found to be audible. For this reason, technologists developed -bit D/A converters that bypassed the problem completely. Significant among these -bit designs was Sony's own High Density inear Converter circuit, which made its debut on the landmark CDP-X77ES in 990 and has since been followed by Sony's Current Pulse -bit converter. ike other -bit converters, these Sony designs overcame the problem of zero-cross distortion, achieving superb low-level linearity for excellent sound, even during quiet passages and the reverberant tails at the end of musical notes. bit D/A conversion (Current pulse) On/off value 0 on off variable /64fs on off /64fs on off /64fs time PWM (PUSE WIDTH MUDUATION) The principle of -bit D/A conversion. In order to reproduce Super Audio CD, Pulse Width Modulation must operate at a higher frequency than the SA-CD sampling frequency of 64 fs (equal to MHz). These -bit converters performed beautifully and dominated CD player design throughout the 990s. However, in order to avoid the influence of jitter, SCD-XA9000ES White Paper, v 3. Page 3

14 to maintain linearity in the time axis, -bit converters need to be driven by a highly precise clock. And Super Audio Compact Disc makes this demand for precise timing even more stringent. Super Audio CD uses an extremely high sampling rate of 2,822,400 samples per second MHz. Many -bit converters employ Pulse Width Modulation, in which the converter modulates the output by creating longer or shorter pulses. Unfortunately, this requires a D/A converter clock frequency substantially higher than MHz. Because it's extremely difficult to maintain clock precision at such high frequencies, the signal is exposed to time-axis errors jitter which pass directly into the analog audio waveform, causing subtle distortion. Such distortion was not acceptable for the design program of the ES Series SA-CD players. That's why Sony ES engineers endowed the SA DAC with Sony's multi-level D/A conversion. Unlike the multi-bit conversion used at the dawn of the digital age, multi-level conversion exhibits superb low-level linearity. And unlike the -bit conversion, multi-level conversion is remarkably free from jitter and jitter-induced distortion. You get the best of both worlds. The multi-level D/A system has multiple switches controlling multiple current sources in effect a number of -bit digital-to-analog converters operating in parallel. The analog output is created by summing all the current sources. Unlike -bit DACs, output is expressed not by the pulse width but the number of the current sources. This reduces the clock frequency, reducing the influence of clock jitter and reducing the radiation of noise into nearby circuits. Multi level D/A conversion N= 64 (for spec ) = 8 (for spec 2&3) N The SA DAC uses multi-level D/A conversion, illustrated here. ike multi-bit conversion, the multi-level system uses many switches operating in parallel. Unlike multi-bit designs, the value of all switches is identical a binary. SCD-XA9000ES White Paper, v 3. Page 4

15 Multi level D/A conversion Output 64 0 / 64 fs / 64 fs / 64 fs time The output of the multi level D/A converter varies from 0 to 64, depending on the number of switches set to On for each sample. Multi-Bit D/A conversion Multi level D/A conversion A A B C D B C D Output =2 Output =2 Output =3 Output =0 Output =2 Output =2 Multi-bit conversion (left) versus multi-level conversion (right). To appreciate the difference between multi-bit and multi-level conversion, take a look at the two of them, side-by-side, as shown in the diagram above. For multi-bit conversion (left), each switch for has its own unique value. For multi-level conversion (right), all switches have the same value,. For multi-bit, each desired output corresponds to one and only one combination of switches. For example, there's only one way to generate an output of 3. In contrast, multi-level conversion has many ways to generate the same output value. The illustration on the right shows four different switch combinations that create an output of 2. In fact, Sony multi-level converters can use thousands of switch combinations to create a given output level. And the converters select the combinations at random, so output errors tend to cancel out. And errors never get the opportunity to cause the regular, predictable nonlinearities of multi-bit designs. In this way, multi-level conversion achieves high precision in the amplitude direction and high accuracy in the time domain, for astonishing specifications and exceptional uniformity on all six channels. But the benefit is far more than just SCD-XA9000ES White Paper, v 3. Page 5

16 technical. You'll hear reproduction with of superb clarity, transparency and musicality. Tri Power DAC From the early years of CD players, Sony engineers understood that D/A accuracy could be further improved by summing the outputs of two or more complementary converters. Summing two D/A converters for example, increases the output by a factor of two, while random noise from one converter partially cancels out noise from the other. Noise is increased by a factor of the square root of 2 (about.42). So the resulting signal-to-noise ratio is theoretically increased by 42%. (This 42% improvement translates to 3.0 db better signal-to-noise ratio.) Sony engineers have applied the same thinking to the SA-CD players of the ES Series. Sony's Tri Power DAC system applies six DACs per channel, increasing output by a factor of 3, while noise is increased by a factor of the square root of 3 (about.73). So the resulting signal-to-noise ratio is theoretically increased by 73%. (This 73% improvement equals 4.8 db better signal-to-noise ratio.) Signal (Tri power) Noise floor (Tri power) Signal S/N ratio x 3 times Noise floor S/N ratio x 3 times Principle of the Tri Power DAC system. By summing the outputs of six DACs per channel, Sony increases the signal by a factor of 3, while increasing noise by a factor of only the square root of 3. Overall signal-to-noise is dramatically improved. Sony introduced the Tri Power DAC in 2002, with the SCD-XA777ES SA-CD player. In 2003, Sony extends the concept with the SCD-XA9000ES. SCD-XA9000ES White Paper, v 3. Page 6

17 SCD-XA777ES : 6 DAC system (multi channel playback) DSD () - - ch DSD () - - ch DSD (C) C C- C C - C ch DSD (SW) SW SW - SW SW- SW ch DSD (S) S S - S S- S ch DSD (S) S S - S S- S ch The Sony SCD-XA777ES has six SA DAC chips with a total of 2 DACs. In multi-channel operation, each channel's output is created by summing two DACs. The SCD-XA777ES used six SA DAC chips for 2 DACs total. When playing back multi-channel SA-CDs, each channel is created by two DACs, for a theoretical 3 db improvement in signal-to-noise ratio. SCD-XA777ES : Tri power DAC system (2 channel playback) DSD () - - ch DSD () - - ch DSD () - - ch ch DSD () - - ch ch DSD () - - ch DSD () - - ch In two-channel playback, the SCD-XA777ES uses all its processing power, to deliver the performance of six DACs per channel. But when reproducing two-channel SA-CDs, Sony introduced a way to take advantage of the full processing power of the SCD-XA777ES. The Tri SCD-XA9000ES White Paper, v 3. Page 7

18 Power DAC system uses six DACs per channel, for a theoretical 4.8 db improvement in signal-to-noise ratio. SCD-XA9000ES Tri Power DAC system (multi-channel playback) DSD () - DSD (C) C DSD (S) S DSD () - DSD (SW) SW DSD (S) S DSD () - DSD (C) C C DSD (S) S S DSD () - DSD (SW) SW SW DSD (S) S S DSD () - DSD (C) C DSD (S) S DSD () - DSD (SW) SW DSD (S) S The SCD-XA9000ES incorporates an incredible 8 SA DACs, which means it delivers the precision of the Tri Power DAC system at all times, even during multi-channel playback. For 2003, the SCD-XA9000ES elevates the bar with Sony's most powerful conversion yet. Eighteen separate SA DAC chips deliver the precision of 36 DACs. So the SCD-XA9000ES can bring home the exalted precision of Tri Power DAC operation, even during multi-channel SA-CD playback. You get minimum noise, for maximum musical enjoyment. Audio Circuit Boards The SA DACs and other parts that are crucial to the sound quality of the SCD-XA9000ES are contained on the audio circuit boards. For this reason, Sony engineers took extra care in every aspect of these circuit boards, from the choice of materials, to the circuit topology to the selection of individual component parts. The multi-channel audio outputs are mounted on the three vertical audio circuit boards, while the two-channel outputs are mounted on the horizontal circuit board. SCD-XA9000ES White Paper, v 3. Page 8

19 The boards themselves are environmentally-friendly halogen-free glass epoxy material. Careful design of board topology simplifies the signal path. And Sony has made extensive use of surface-mount parts and leadless resistors, which cut signal travel to the bare minimum. In this way, the sound is protected from radiated interference and the uniformity of all six output channels is improved. The power supply can become a path for noise to leak from the digital system board to the audio boards. For this reason, Sony took the extra step of building a dedicated power supply just for audio. This minimizes even subtle noise and interference. SCD-XA9000ES White Paper, v 3. Page 9

20 Construction & Design Discrete Dual aser Optical Pick Up The SCD-XA9000ES can play back SA-CD, CD, CD- and CD-W discs. There is substantial difference in the laser wavelength of SA-CD (650 nm) and CD (780 nm). Sony accommodates that difference with the discrete dual laser optical pickup. This system has two independent lasers working through a common lens. One laser handles CD, CD- and CD-W while the other achieves uncompromised reproduction of SA-CD. The system requires a beam splitter, a special objective lens that can handle both wavelengths and dual focus. This results in substantially lower mass than systems with completely separate optical blocks. ower mass reduces servo currents, for a corresponding reduction in noise radiated into the sensitive preamplifier stage. ower mass also means faster track access, for greater operating convenience SA-CD CD Objective ens Collimator Dichroic Beam Splitter SA-CD laser diode λ = 650 nm Grating 2 Waves Beam Splitter Plate CD laser diode λ = 780 nm Photo Detector SCD-XA9000ES White Paper, v 3. Page 20

21 Twin Core Transformers The video and control circuits can introduce noise to the power supply voltage, which can trigger audio distortions. To protect the audio circuitry, the player uses two separate power transformers: one for the servo and digital system and another just for audio. In addition, power supply regulation on the audio circuit board itself helps establish stable operation for the audio D/A converters. Power transformer cores and windings can vibrate and degrade the sound, radiating 60 Hz hum into nearby audio circuits. That's why Sony chose an -Core design. The stands for round. Not only is the core round, it has a cylindrical cross section, enabling the transformer windings to be wrapped without the voids or gaps that permit vibration. This results in far less radiation, far less hum. These two transformers are mounted on a copper plate, which is quite effective in reducing vibration. The audio power supply circuit also incorporates discrete components, including electrolytic capacitors, carefully selected for their sound quality. The two power transformers have round cores with cylindrical cross sections. This enables far more consistent transformer windings for far less radiated hum. SCD-XA9000ES White Paper, v 3. Page 2

22 Frame and Beam (FB) chassis Vibration is the enemy of CD and Super Audio CD players for two powerful reasons. First, vibration in the disc or optical pickup triggers unwanted operation in the tracking servos. This can radiate spurious noise throughout the chassis. And this radiation occurs in exactly the wrong place near the sensitive, low-level optical pickup preamplifier. To make matters worse, vibration can also cause subtle distortions in the audio circuitry. Vibration can have tiny "microphonic" effects on capacitor values and point-to-point wiring. While these distortions are not always apparent to the casual listener, Sony's design program required performance without compromise. For all these reasons, the SCD-XA9000ES incorporates Sony's anti-resonant Frame and Beam (FB) chassis. In the SCD-XA9000ES, Sony's Frame and Beam (FB) chassis uses a thick, high-strength frame which gains additional rigidity from two broad metal girders or beams that cross the chassis from front to back. For even greater rigidity, the juncture where the beams meet the chassis front is reinforced by triangle braces. To further suppress resonant modes, Sony engineers selected metal members of different shapes and sizes to cancel unwanted vibration. Front view (left) and side view (right) of Sony's Frame and Beam (FB) chassis. It's supremely strong to suppress resonance. The two beams have the added function of supporting the player's mechanical drive unit. Unfortunately, the two beams never have exactly the same length. This means that the mechanical block can exert slightly different tension on the beams, potentially exciting different vibration modes and generating unwanted chassis resonance. To combat this resonance, Sony engineers decoupled the beams from the rear panel. The beams connect to a rigid metal frame, which is connected to the rear panel. This design restricts the potential for whole-chassis vibration. SCD-XA9000ES White Paper, v 3. Page 22

23 Audio circuit board ear panel Mechanism -core transformer (copper plate) Drive unit Triangle reinforcement Double layer Bottom plate Main (digital) board Front chassis Front panel Schematic view of the chassis design, showing the chassis beams (light blue), mechanical drive unit (violet) and audio circuit boards (orange). Silver Cascade Design In addition to its remarkable technology, the SCD-XA9000ES inaugurates a new faceplate design exclusive to the Sony ES Series. The "cascade" design sets all the primary front panel controls at an angle, so that you can operate the front panel without uncomfortable bending and stooping to identify each control. The silver colored faceplate is made of brushed aluminum and fits in beautifully with conventional audio components. But the design really comes into its own when the SCD-XA9000ES is combined with other silver cascade components, such as the ST-DA9000ES. The ST-DA9000ES shows how the Silver Cascade design extends to receivers. The design is also featured on the ST-DA5000ES and DA3000ES. SCD-XA9000ES White Paper, v 3. Page 23

24 SCD-XA9000ES Features and Specifications Sony's first Super Audio CD player with i.ink (IEEE 394) interface digital output for the DSD signal Super Audio CD multi-channel and two-channel playback Compact Disc, CD-, CD-W playback DSD decoder SI Multi-channel management with bass redirection Speaker time alignment Tri Power conversion with 36 Super Audio Digital-to-Analog Converters (SA DACs), six per channel Discrete dual laser optical pickup Twin -Core power transformers, one for system and digital the other for audio Frame and Beam (FB) chassis with aluminum front panel Off center insulator feet Super Audio CD Performance SCD-XA9000ES Playback frequency response 2--00,000 Hz Frequency response 2--50,000 Hz, -3 db Harmonic distortion less than 0.002% Dynamic range (in the audible range) more than 08 db Wow & Flutter Below measurement limit (±0.00% Weighted Peak) CD Performance Playback frequency response 2--20,000 Hz (EIAJ) Harmonic distortion less than 0.007% (EIAJ) Dynamic range more than 00 db Wow & Flutter Below measurement limit (±0.00% Weighted Peak) System Output level CD Digital Optical CD Digital Coaxial Analog Unbalanced Headphone -8 db 0.5 V p-p 2 V rms 0 mw, 32 ohms 20 V, 50/60 Hz 32 w Power equirements Power consumption Dimensions (WxHxD) 7 x 5 x 5-/4" (430 x 27 x 387 mm) Weight 35 lbs., 0 oz. (6.2 kg) Accessories emote control i.ink cable Stereo cable AC power cord AA batteries x2 SCD-XA9000ES White Paper, v 3. Page 24

25 Sony Electronics Inc. Sony Drive, Park idge NJ Sony Electronics Inc. All rights reserved. eproduction in whole or in part without written permission is prohibited. Features and specifications are subject to change without notice. Sony, Direct Stream Digital, High Density inear Converter and i.ink are trademarks of Sony. SCD-XA9000ES White Paper, v 3. Page 25