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....................
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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
D/A
convert
Speakers
Amplifier
SA-CD Player
A/D
convert
Digital Signal
DSP
D/A
convert
LPF
Volume
Analog
Power
Amp
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).
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2
1
3
4
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 from—and not compatible with—previous 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 Watermark—a feature protecting Super Audio Compact Discs from
piracy—and 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)
full range
full range
full range
yes
#1
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
MENU key
Multi CH
PLAYBACK MODE
BALANCE ADJUSTMENT
Direct
or
#
#
#
#
#
#
#
Two channel management
MENU key
2 CH
1
2
3
4
5
6
7
front /surrnd
front /center
front /sub w f
remote controllable
PLAYBACK MODE
Direct
or
+ 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.
30°
110°
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
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(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
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
16 bit/1 fs
24 bit/8 fs
8x
Oversampling
digital filter
Noise
shaper
1 bit/64 fs
Multi level
D/A converter
SACD
1 bit/64 fs
DSD
filter
1 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).
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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
Multi level
level D/A
D/A conversion
conversion
LSB
1
2
4
8
+
16
…
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
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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.
11 bit
bit D/A
D/A conversion
conversion (Current
(Current pulse)
pulse)
On/off
1
value
1
0
on
off
on
off
on
off
variable
1 /64fs
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,
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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 second—2.8224 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 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 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 sources—in 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.
Multi
Multi level
level D/A
D/A conversion
conversion
1
1
1
N
+
1
…
N= 64 (for spec 1)
= 8 (for spec 2&3)
1
1
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 identical—a binary 1.
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Multi
Multi level
level D/A
D/A conversion
conversion
Output
64
0
1 / 64 fs
1 / 64 fs
1 / 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
Multi level
level D/A
D/A conversion
conversion
Multi-Bit
Multi-Bit D/A
D/A conversion
conversion
1
1
1
A
1
A
1
B
2
B
2
C
D
+
4
1
1
C 4
Output =2
1
1
1
1
1
1
Output =3
1
+
Output =2
+
D 8
8
1
+
Output =10
1
+
Output =2
1
1
+
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, 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
x √3 times
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)
L+
LL+
L-
L ch
R+
RR+
R-
R ch
SADAC
C+
CC+
C-
C ch
DSD (SW)
SADAC
SW+
SW SW+
SW-
SW ch
DSD (SL)
SADAC
SL+
SL SL+
SL-
SL ch
DSD (SR)
SADAC
SR+
SR SR+
SR-
SR ch
DSD (L)
SADAC
DSD (R)
SADAC
DSD (C)
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)
DSD (L)
SADAC
DSD (R)
SADAC
DSD (L)
SADAC
DSD (R)
SADAC
DSD (L)
SADAC
DSD (R)
SADAC
L+
LL+
L-
L ch
R+
RR+
R-
R ch
L+
LL+
L-
L ch
L ch
R+
RR+
R-
R ch
R ch
L+
LL+
L-
L ch
R+
RR+
R-
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
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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 (L)
DSD (R)
DSD (L)
DSD (R)
DSD (L)
DSD (R)
SADAC
SADAC
SADAC
SADAC
SADAC
SADAC
L+
L
L+
R
+
R
-
R
L+
L
L+
L
R
+
R
-
R
L+
L
L+
L
R
+
R
-
R
SADAC
L
+
L
DSD (SW)
SADAC
R
+
R
SW
DSD (C)
SADAC
L
+
L
C
SADAC
R
+
R
SW
DSD (C)
SADAC
L
+
L
C
DSD (SW)
SADAC
R
+
R
SW
DSD (C)
L
L
DSD (SW)
R
SADAC
L
+
L
SL
DSD (SR)
SADAC
R
+
R
SR
C
DSD (SL)
SADAC
L
+
L
SL
SL
SW
DSD (SR)
SADAC
R
+
R
SR
SR
DSD (SL)
SADAC
L
+
L
SL
DSD (SR)
SADAC
R
+
R
SR
DSD (SL)
C
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.
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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 3.1
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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
SA-CD
Objective
Lens
Collimator
Dichroic
Beam Splitter
SA-CD laser
diode
λ = 650 nm
CD laser diode
λ = 780 nm
SCD-XA9000ES White Paper, v 3.1
Grating
2 Waves
Beam
Splitter Plate
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 windings—for
far less radiated hum.
SCD-XA9000ES White Paper, v 3.1
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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 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 3.1
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Rear panel
Audio circuit board
Mechanism
R-core transformer
Drive unit
(copper plate)
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 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.
SCD-XA9000ES White Paper, v 3.1
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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
SCD-XA9000ES
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)
CD Performance
Playback frequency response
Harmonic distortion
Dynamic range
Wow & Flutter
2--20,000 Hz (EIAJ)
less than 0.0017% (EIAJ)
more than 100 dB
Below measurement limit
(±0.001% Weighted Peak)
System
Output level
CD Digital Optical
CD Digital Coaxial
Analog Unbalanced
Headphone
Power Requirements
Power consumption
Dimensions (WxHxD)
Weight
Accessories
SCD-XA9000ES White Paper, v 3.1
-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
Page 24
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
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