SCD-XA9000ES SA-CD/CD Player Technical Background
Version 3.1; May 30, 2003

Introduction

In 1985, 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.LINK digital output, compatible not only with Sony's own STR-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.LINK Digital Output.. DSD Decoder LSI.. Audio Technology for Analog Outputs Multi-Channel DSP.. Speaker Time Alignment. Super Audio D/A Converter (SA DAC).. Tri Power DAC. Audio Circuit Boards.. Construction & Design Discrete Dual Laser Optical Pickup. Twin R Core Transformers. Frame and Beam (FB) Chassis.. Silver Cascade Design. Features and Specifications.. Page 3 Page 7 Page 8 Page 10 Page 11 Page 16 Page 18 Page 20 Page 21 Page 22 Page 23 Page 24
SCD-XA9000ES White Paper, v 3.1

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i.LINK Digital Output
From the initial launch of Super Audio Compact Disc, the 1-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 1-bit DSD signal. SA-CD Player Amplifier Speakers

D/A convert

A/D convert

Volume

Analog Power Amp

Digital Signal

Analog Signal
Typical SA-CD reproduction involves numerous D/A and A/D conversions. The i.LINK digital connection can simplify the signal path.
This i.LINK digital output is compatible with the i.LINK digital input on Sony's own STR-DA9000ES as well as a growing number of outboard D/A converters from other high-end audio companies. The i.LINK interface maintains the signal in the digital domain and can protect the signal from repeated D/A and A/D conversions. The i.LINK 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.LINK digital output for Super Audio CD (upper right). SCD-XA9000ES White Paper, v 3.1 Page 3
Internal layout of the SCD-XA9000ES as seen from the back. Notice the R-Core power transformers (1), the digital circuit (2), the analog audio circuits (3), and the i.LINK output circuit (4), near the center of the back panel.
The i.LINK digital audio interface uses Digital Transmission Content Protection (DTCP), a robust system that protects the music from piracy. The application of the i.LINK (IEEE 1394) interface for Super Audio Compact Disc is clearly different fromand not compatible withprevious i.LINK interface applications for DV camcorders, PC peripherals and professional digital video systems. You can only connect the SCD-XA9000ES i.LINK output to a compatible digital audio input, such as that on the STR-DA9000ES receiver.

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The i.LINK output circuit incorporates a dedicated Large Scale Integrated circuit (LSI), Sony's CXD3210.
The design of the interface is exceptional because communicating six streams of 2.8224 MHz digital samples raises exceptional challenges. Conveying 1-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 STR-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. 1. 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.

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SCD-XA9000ES

STR-DA9000ES

With Sony HATS, audio data flows from the player to the receiver's buffer memory, according to rate control commands from the receiver. Reproduction 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.

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DSD Decoder LSI
The SCD-XA9000ES processes and decodes the 1-bit signal using Sony's CXD2752R DSD decoder LSI. This integrated circuit makes intelligent decisions regarding the incoming data to form the 1-bit audio signal. The LSI first reads the Watermarka feature protecting Super Audio Compact Discs from piracyand then decodes the incoming data. The LSI uses a buffer memory to take data that's output intermittently from the disc and rearrange it into continuous 1-bit audio streams. The streams are output according to the master clock signal from the audio circuit board. The LSI 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 Large-Scale Integrated circuit (LSI), the CXD2752R.

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Audio Technology for Analog Outputs
While the provision of an i.LINK 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 Left and Right speakers that produce bass so deep that any subwoofer would be extraneous. In this case, the Left and Right 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) Large Scale Integrated Circuit (LSI) to achieve optimal multi-channel reproduction with all these speaker configurations. The DSP processes the Direct Stream Digital signal in its 1-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: 1. 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.

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Engaging Multi-Channel Management selects among seven different speaker configurations, each with adjustable channel balance.

Speaker playback mode

Playback mode FRONT CENTER SURROUND SUB WOOFER
Direct (level fixed) #1 #2 #3 #4 #5 #6 #7 level adjustable level adjustable level adjustable level adjustable level adjustable level adjustable level adjustable

full range

full range full range small full range full range full range full range
full range full range small small small -
full range full range small small small full range full range

yes yes yes yes -

Sony's multi-channel management gives you seven different bass redirection modes, plus channel balance for fine tuning.

Multi channel management

MENU key Multi CH

PLAYBACK MODE

BALANCE ADJUSTMENT

Direct

# # # # # # # 7 front /surrnd front /center front /sub w f remote controllable

Two channel management

MENU key 2 CH

+ sub w f

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.

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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-R. 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 Low Frequency Effects or LFE channel, the subwoofer can be flexibly placed outside the circle.) The ITU-R 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.

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Mastering for Super Audio CD multi-channel sound assumes that speakers will be placed according to the international ITU-R 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 SL and SR speakers to match the L, C and R speakers.
To resolve the problem, Sony enables you to apply a carefully timed delay to each individual speaker. Sony provides this delay in 150-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 3.1 Page 10
(2-inch) increments. Each 150 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 5.1-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.LINK digital interface to the Sony STR-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.LINK 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 channelsall 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 16 bit/1 fs 24 bit/8 fs 8x Oversampling digital filter Noise shaper 1 bit/64 fs
SACD 1 bit/64 fs DSD filter 1 bit/64 fs
Multi level D/A converter
Sony's Super Audio D/A Converter (SA DAC) does an equally superb job on Compact Disc signals (top) and SA-CD signals (bottom).

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The converter consists of a single integrated circuit that contains four significant circuits: 1. 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 1-bit signal at 64 times the CD sampling frequency (1-bit/64 fs). Sixty-four times 44.1 kHz equals 2.8224 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 1-bit/64 fs form. 3. DSD filter for SA-CD, a digital filter that removes unwanted super high frequency noise by computing raw 1-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 1-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, 1-bit and multi-level.
Multi level D/A conversion Multi level D/A conversion

MSB 32,768

Multi-bit D/A conversion in a typical early CD player employed 16 switches, corresponding to the 16 bits of the CD sample. Each switch produced a different level of current, according to the significance of the bit.
In the 1980s, 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 3.1 Page 12
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 Least Significant Bit (LSB) was 1, the next bit was 2, the next 4, the next 16 and so on up to the 16th 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 LSB). 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 1111111111111111 to 0000000000000000. 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 1-bit D/A converters that bypassed the problem completely. Significant among these 1-bit designs was Sony's own High Density Linear Converter circuit, which made its debut on the landmark CDP-X77ES in 1990 and has since been followed by Sony's Current Pulse 1-bit converter. Like other 1-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.

1 bit D/A conversion (Current pulse) 1 bit D/A conversion (Current pulse)

On/off

value 1 0
on variable off on off on off

1 /64fs

1 /64fs time
PWM (PULSE WIDTH MUDULATION)
The principle of 1-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 2.8224 MHz).
These 1-bit converters performed beautifully and dominated CD player design throughout the 1990s. However, in order to avoid the influence of jitter,
SCD-XA9000ES White Paper, v 3.1 Page 13
to maintain linearity in the time axis, 1-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 second2.8224 MHz. Many 1-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 2.8224 MHz. Because it's extremely difficult to maintain clock precision at such high frequencies, the signal is exposed to time-axis errorsjitterwhich 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 1-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 sourcesin effect a number of 1-bit digital-to-analog converters operating in parallel. The analog output is created by summing all the current sources. Unlike 1-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.

N= 64 (for spec 1) = 8 (for spec 2&3)
The SA DAC uses multi-level D/A conversion, illustrated here. Like multi-bit conversion, the multi-level system uses many switches operating in parallel. Unlike multi-bit designs, the value of all switches is identicala binary 1.

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Output 64
/ 64 fs 1 / 64 fs time 1 / 64 fs
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-Bit D/A conversion

A B C D

Output =2

C 4 D 8

Output =3

Output =10

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, 1. 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

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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 1.42). 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 1.73). 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) S/N ratio

x 3 times

Noise floor (Tri power) Signal S/N ratio Noise floor
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.

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SCD-XA777ES : 6 DAC system (multi channel playback)

DSD (L)

L+ LL+ LR+ RR+ RC+ CC+ CSW+ SW SW+ SWSL+ SL SL+ SLSR+ SR SR+ SR-
L ch R ch C ch SW ch SL ch SR ch

DSD (R)

DSD (C)

DSD (SW)

DSD (SL)

DSD (SR)

The Sony SCD-XA777ES has six SA DAC chips with a total of 12 DACs. In multi-channel operation, each channel's output is created by summing two DACs.
The SCD-XA777ES used six SA DAC chips for 12 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)
L+ LL+ LR+ RR+ RL+ LL+ LR+ RR+ RL+ LL+ LR+ RR+ R-
L ch R ch L ch R ch L ch R ch L ch R 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 3.1 Page 17
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)
L+ L L+ R + R L+ L L+ R + R L+ L L+ R + R -

L R L R L R L R

SADAC SADAC SADAC SADAC SADAC SADAC
L + L R + R L + L R + R L + L R + R

C SW C SW C SW C SW

SL SR SL SR SL SR SL SR
The SCD-XA9000ES incorporates an incredible 18 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 3.1 Page 18
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.

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Construction & Design
Discrete Dual Laser Optical Pick Up
The SCD-XA9000ES can play back SA-CD, CD, CD-R and CD-RW 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-R and CD-RW 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. Lower mass reduces servo currents, for a corresponding reduction in noise radiated into the sensitive preamplifier stage. Lower mass also means faster track access, for greater operating convenience CD
Objective Lens Collimator
Dichroic Beam Splitter 2 Waves Beam Splitter Plate
SA-CD laser diode = 650 nm CD laser diode = 780 nm

Grating

Photo Detector

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Twin R 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 R-Core design. The R 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 windingsfor far less radiated hum.

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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 placenear 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.

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Audio circuit board Mechanism R-core transformer (copper plate) Triangle reinforcement Drive unit

Rear panel

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 STR-DA9000ES.

The STR-DA9000ES shows how the Silver Cascade design extends to receivers. The design is also featured on the STR-DA5000ES and DA3000ES.

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SCD-XA9000ES Features and Specifications
Sony's first Super Audio CD player with i.LINK (IEEE 1394) interface digital output for the DSD signal Super Audio CD multi-channel and two-channel playback Compact Disc, CD-R, CD-RW playback DSD decoder LSI 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 R-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
Playback frequency response Frequency response Harmonic distortion Dynamic range (in the audible range) Wow & Flutter
2--100,000 Hz 2--50,000 Hz, -3 dB less than 0.0012% more than 108 dB Below measurement limit (0.001% Weighted Peak) 2--20,000 Hz (EIAJ) less than 0.0017% (EIAJ) more than 100 dB Below measurement limit (0.001% Weighted Peak)

CD Performance

Playback frequency response Harmonic distortion Dynamic range Wow & Flutter

System

Output level CD Digital Optical CD Digital Coaxial Analog Unbalanced Headphone Power Requirements Power consumption Dimensions (WxHxD) Weight Accessories -18 dB 0.5 V p-p 2 V rms 10 mW, 32 ohms 120 V, 50/60 Hz 32 w 17 x 5 x 15-1/4" (430 x 127 x 387 mm) 35 lbs., 10 oz. (16.2 kg) Remote control i.LINK cable Stereo cable AC power cord AA batteries x2

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Sony Electronics Inc. 1 Sony Drive, Park Ridge NJ 07656 http://www.sony.com
2003 Sony Electronics Inc. All rights reserved. Reproduction 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 Linear Converter and i.LINK are trademarks of Sony.
SCD-XA9000ES White Paper, v 3.1 Page 25

MAT 242A: Audiophile Engineering Reader Contents Volume 1

General Reference

Reviews of Acoustical Patents -- JAES Can you really hear it? Psychoacoustics in Action -- JAES 55(12): 2007 The Faults of Recording Media -- The Anstendig Institute Stereo: A Misunderstanding -- The Anstendig Institute Digital Recordings, A Tragedy Unrivaled in the History of Art -- The Anstendig Institute
Formats, CODECS & Networking
New Media for Music -- JAES, 6/03 SACD One Year Later -- Stereophile, 11/00 Understanding S/P-DIF and AES/EBU -- Audio Electronics 3/98 A Suggested Explanation for (Some of) the Audible Differences between High SampleRate and Conventional Sample Rate Audio Material -- dCS, Ltd, 1997 A/D Conversion Techniques -- Steve Hendrix Dithering Around -- Pro Audio Review, 4/99 AAC: Life Beyond MP3 -- HiFi News, 10/00 Lossless Compression for DVD Audio -- AES 9th Regional Conf.
Spatial and Surround Sound
High-Quality Multichannel Audio Coding: Trends and Challenges -- JAES 6/00 History of Spatial Coding -- JAES 6/03 Stereo vs 5.1: Is it More or Less? -- Stereophile, 8/01

Hardware Theory

Tubes do something special -- Stereophile, 9/00 The Cool Sound of Tubes -- IEEE Spectrum, 8/98 Op-Amp Spectral X-Contamination -- Stereophile, 6/01 Reections, Echoes, & Music -- Stereophile, 11/01 Audio Power Amplication -- JAES 54(4): 2006 What should I look for in a loudspeaker? -- W. R. Dudleston, Legacy

Testing

Friend or Foe? Designers on Measurement -- Ultimate Audio, 1999 Fundamentals of Modern Audio Measurement -- JAES, 9/99 Measuring Loudspeakers (3 parts) -- Stereophile, 11/98-1/99 Auditory Models for Gifted Listeners -- JAES, 11/00

Audiophile Content

Bob Ludwig Interview -- Stereophile 10/00 I Want More (Tom Jung interview) -- Stereophile 11/99 Hard Disk Classical Music Recording -- Pro Audio Review, 5/99 Recording Deep River (excerpt) -- Stereophile, 3/04

Tweaking

Optimizing your Audio System -- Audio Electronics 3/98 Tweaks! -- Audio Musings 3/98 Digital Room and Speaker Correction: The Big Picture -- RegOnAudio Digital Correction for Audio, Part 1 -- RegOnAudio Loudspeaker Placement -- Bodhan Raczynski Cinemusic Room Treatments -- RPG

Volume 2

Systems
Recommended Systems -- TAS, 6/02 The Hot 100 -- Stereophile, 11/02

Source: LP

Wilson Benesch Full Circle Turntable ($3900) -- Stereophile 11/98 Koetsu Signature Platinum Phono Cartridge ($5500) -- UltimateAudio, 3/98

Source: CD/SACD/DVD-A

Technics DVD-A10 DVD/Audio ($1200) -- Stereophile, 11/00 Sony SCD-XA777ES Multichannel SACD/CD ($3000) -- Stereophile, 1/02 Esoteric DV-50 Universal Player ($5500) -- Stereophile 8/03 MBL 1611/1621 ($31,000) -- Stereophile, 12/99 Burmeister Reference 970/969 ($33,000) -- Stereophile, 12/99

Source: DACs

MSB Link DAC III ($700) -- Stereophile, 9/00 Digital Audio Labs CardDeluxe PC Soundcard ($600) -- Stereophile, 9/00 Mark Levinson 360 DAC ($4500) -- Stereophile, 12/99 dCS Purcell D/D convertor ($5000) -- Stereophile, 1/01 Slim Devices Transporter WiFi D/A Processor -- Stereophile 2/07

Preampliers

Conrad-Johnson Premier 17LS pre ($4500) -- Stereophile, 5/01 Mark Levinson 32 Reference Pre ($15,000) -- Stereophile, 1/00 Boulder 2002/2010 Phono/preamplier ($65,000) -- Stereophile 7/02 Krell Evolution 202 preamplier & 600 monoblock ($45,000) -- Stereophile 12/06

Amplication: Tube

Antique Sound Labs Explorer 805 DT SET ($3000) -- Stereophile, 3/04 Music Reference (RAMLabs) RM-200 ($3450) -- Stereophile, 4/02 Audio Research Reference 1 Pre and VT200 Power ($8500 + $9000) -- Stereophile, 11/98

Amplication: Solid State

Headroom "Max" amplier ($1333) and Sennheiser HD600 phones -- UltimateAudio, 3/98 Rotel RB-1090 2-channel power stage ($2000) -- Stereophile, 1/00 Halcro DM88 Monoblock ($40,000) -- Stereophile, 10/02

Amplication: Integrated

NAD C370 ($700) -- Stereophile, 1/02 Krell KAV-300i ($2350) -- Stereophile 7/96

Speakers

Polk Audio RT25i ($320) -- Stereophile, 9/01 PSB Image 4T ($650) -- Stereophile, 2/01 Magnepan MG3.6/R ($3750) -- Stereophile, 8/00 Quad ESL-989 Electrostatic ($8000) -- Stereophile, 11/02 Avantgarde Series Two ($11,000) -- Stereophile, 9/00 B&W Nautilus 801 ($11,000) -- Stereophile 1/99 Rockport Antares ($41,500) -- Stereophile, 8/02 Wilson X-1 Grand Slamm Series II ($77,000) -- Fi, 6/98

Interconnection

Speaker Cables under $8/m -- What HiFi?, 5/98 Our Favorite Audio Cables -- Listener, 3/01 Alpha-Core interconnects ($78/m) and speaker cables -- Stereophile, 10/01 Nirvana S-X Ltd. ($2200/m) -- Stereophile, 8/00 Nordost Valhalla interconnects and speaker cables ($4200/m) -- Stereophile, 11/01

Power and Accessories

Nine Power Conditioners Surveyed -- TAS, 10/03 AC Outlet Replacement -- Stereophile, 3/04 Acoustic Sciences Studio Traps ($315) -- Stereophile, 12/98

Processors

TacTRCS2.0 digital EQ/preamp and software ($4300) -- Stereophile, 9/01
Integrated/Disk-based Systems
Sonos ZP80 & ZP100 WiFi Music System -- Stereophile 10/06 Linn Knekt Kivor Hard Disk System ($20,000) -- Stereophile, 12/01 Meridian Digital Theater System ($73,000) -- Stereophile, 2/00