Sony ST-RDA1000ES TWP User Manual
ES Series Receivers
Technical Background
Version 3.0; May 30, 2003
Introduction
For 2003, Sony is introducing a completely new and dramatically different
line of ES Series audio/video receivers. To create these remarkable
components, Sony ES engineers have rethought, refreshed and redesigned just
about every aspect:
• Digital power amplifier technology (STR-DA2000ES and higher)
• Redesigned internal chassis layout (STR-DA2000ES and higher)
• Pulse power supply (STR-DA2000ES, DA3000ES and DA5000ES)
• i.LINK® (IEEE 1394) 1-bit digital interface for Super Audio CD (STR-
DA9000ES)
• Superior ergonomics with "silver cascade" front panel (STR-DA3000ES and
higher)
While these design breakthroughs are exciting and fresh, the fact that they
make their appearance in the Sony ES Series should come as no surprise at all.
From the very beginning, ES receivers have benefited from Sony's
comprehensive expertise in digital source components and Sony's thorough
understanding of digital signals. Those insights led directly to significant Sony
ES innovations:
• The world's first outboard D/A converter (DAS-702ES, 1985).
• The world's first Dolby® Surround decoder to operate in the digital domain
(SDP-505ES, 1986).
• The world's first all-digital preamplifier (TA-E1000ESD, 1989).
• 24-bit Dolby Digital® decoding (SDP-EP9ES, 1997).
• Digital Cinema Sound™ processing (STR-DA90ESG, 1997).
• World's first floating-point 32-bit preamplifier (TA-E9000ES, 1998).
Sony's latest A/V receivers are worthy successors, carrying this heritage
forward to a new generation of home entertainment enthusiasts.
S-Master Pro Technologies................... Page 3
S-Master Pro Benefits....................... Page 15
Other New Features......................... Page 21
Continuing Features......................... Page 30
Features and Specifications.................... Page 32
ES Receivers V3.0 Page 2
S-Master Pro Technologies
Digital amplifiers have been around for decades, occupying a place
outside the mainstream of home audio. But important trends in audio technology
are creating significant reasons to prefer digital amplification.
First, digital signal-handling technology has improved, especially in the
area of 1-bit digital signal processing. Modern circuitry can exercise amazingly
precise control over 1-bit pulse lengths, pulse height and pulse timing, for jitterfree, distortion-free performance. Large Scale Integrated (LSI) technology
continues to move forward, enabling manufacturers to build this sophisticated
technology into consumer products. Today's faster output transistors do a better
job at digital switching speeds. Finally, home entertainment continues to move
inexorably into the digital domain, leaving analog processes behind.
Simultaneous with these advances, the function of the home audio
receiver has been transformed. "High fidelity" or "AM/FM" receivers have long
since given way to sophisticated A/V control centers that first handled composite
video, then added component video, HD component video and now digital
component video. Over the years, stereo receivers have been transformed into
four, five, six and now seven-channel receivers. And the designs continue to
grow in complexity. In this new context, digital amplification is becoming more
and more compelling.
It was for this reason that Sony first developed the S-Master process back
in 2001. The 2003 ES receivers, starting with the STR-DA2000ES, incorporate
Sony's third generation of S-Master technology—and our most advanced by far.
Process S-Master "Digital Drive" S-
Master
Generation
Introduction
Technologies
First Second Third
2001 2002
AVD-C70ES
AVD-S50ES
• Clean Data Cycle
• C-PLM
• S-TACT
• Clean Data Cycle
• C-PLM
• S-TACT
• Pulse Height Volume
Control
S-Master Pro
2003
STR-DA9000ES
STR-DA5000ES
STR-DA3000ES
STR-DA2000ES
• Clean Data Cycle
• C-PLM
• S-TACT
• Pulse Height Volume
Control
• DC Phase Linearizer
• Discrete Output
Transistors
• Toroidal Low Pass Filter
• Two-Stage Pulse Power
Supply
ES Receivers V3.0 Page 3
A look at analog amplifiers
Conventional, analog power amplifiers have awkward characteristics that
are so familiar that receiver engineers automatically work around them.
However, Sony's design program for the 2003 ES Series required more than the
typical work-around. We sought to address these issues directly:
• Circuit complexity. In the context of today's home theater receivers, the
analog power amplifier is out of place. You have digital source material
processed through a digital preamplifier—only to be converted to analog prior
to amplification.
• Heat generation. The heat thrown off by conventional power output
transistors is a central fact of amplifier and receiver design. Conventional
amplifiers and receivers often require heat sinks, fans, and chassis layouts
that isolate the output transistors at the back or sides. Heat is always bad for
electronics. Sony sought a more comprehensive solution for these ES
receivers.
• Crossover distortion. Conventional power amplifiers use complementary
pairs or sets of transistors to handle the top half and the bottom half of the
waveform. This can create crossover distortion, the solution to which is
amplifier bias—and that means more heat!
• Thermal modulation distortion. As the changing audio signal passes
through the typical output transistors, it causes immediate changes in the
transistors' temperature. Unfortunately, the temperature changes affect the
transistors' handling of audio signal. This is thermal modulation distortion.
Left unchecked, it can degrade sound quality.
• Open-loop distortion. Conventional amplifiers typically generate substantial
distortion in "open-loop" mode. That's why amplifiers correct this distortion
with Negative Feedback (NFB). However, NFB exposes the signal to
Transient Intermodulation Distortion and other dynamic problems.
Sony's design program for the 2003 ES receiver line overcomes these
fundamental constraints by applying digital technology.
S-Master Pro: simplicity of design
For years, it's been evident that digital power amplifiers can solve many of
the intrinsic problems of analog amps. But now, digital amplifiers have the sound
quality and technical performance to meet the stringent requirements of Sony ES
engineers. The S-Master Pro design draws on 1-bit technologies that Sony
originally developed for the Super Audio Compact Disc. The result is a
breakthrough in home theater component design.
ES Receivers V3.0 Page 4
A
In high fidelity components, the simplest solution is usually the best
because it subjects the signal to the fewest distortion-causing processes.
Unfortunately, conventional A/V receivers are anything but simple. After Digital
Signal Processing (DSP), every signal needs to be converted back to analog, run
through a Low Pass Filter (LPF), sent through an analog volume control and then
amplified.
Input
(Digital)
DSP
Digital Signal
D/A
convert
LPF
Volume
Control
Analog
Power
Amp
Speaker
Output
Analog Signal
The conventional A/V receiver is anything but simple. The signal must
run through a gantlet of processes and stages.
The Sony S-Master Pro amplifier is dramatically different. There is no
Digital-to-Analog (D/A) converter. Instead, the amplifier accepts the digital output
of the DSP stage directly. The output of the S-Master Pro amplifier provides the
wattage that drives the speakers. In this way, the signal remains digital until the
last possible instant.
Input
(Digital)
DSP
S-Master
Power
mplifier
LPF
Speaker
Output
Digital Signal
Analog Signal
The Sony S-Master Pro amplifier dramatically simplifies receiver design.
And in high fidelity, simpler is better.
Principle of operation
The S-Master Pro amplifier accepts all digital signals directly, whether
they're multi-bit Pulse Code Modulation (PCM) or 1-bit Direct Stream Digital™
pulses, in the case of the SCD-XA9000ES SA-CD player connected via i.LINK®
interface to the STR-DA9000ES. Analog inputs undergo Analog-to-DSD
(A/DSD) conversion.
ES Receivers V3.0 Page 5
Block diagram of the S-Master Pro amplifier.
Sony generates a 1-bit pulse stream to switch a pair of FET power output
transistors on and off. The resulting output has more than enough wattage to
drive a loudspeaker.
The output transistors act like an electronic on/off switch for the power
supply voltage. The Low Pass Filter (LPF) converts the amplified
pulses to a smooth, continuous analog waveform.
The S-Master 1-bit pulse stream has much in common with the Direct
Stream Digital signal that Sony developed for Super Audio CD. If you look
carefully at the pulses, you'll see that where the audio waveform is positive, the
pulses are mostly 1. Where the audio waveform is negative, the pulses are
mostly 0. In this way, a 1-bit pulse stream can represent the audio signal. As
with a DSD signal, a Low Pass Filter (LPF) is all you need to recover the original
audio signal.
In the diagram above, (A) represents the output power pulse stream.
This combines two components, the original audio signal (B) and a
noise component (C). The audio signal (B) looks smooth and
continuous because the frequencies are low. The noise component (C)
looks abrupt and spiky because the frequencies are high. The Low
Pass Filter (LPF) effectively separates out the audio signal, for
extremely accurate music reproduction.
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Low-Pass Filtering (LPF)
(B) audio elements
(C) noise elements
Frequency
The action of the LPF. The audio signal (B) consists of low frequencies,
which pass. The red lines show the characteristic of the LPF, which
suppresses the noise elements (C) on the right. These are high
frequencies, which do not pass.
The S-Master Pro process
While Sony's S-Master Pro amplifier is simple in principle, the fidelity of
the output signal depends on getting each pulse exactly right. That is, the
leading and trailing edges of each pulse must have the right timing—and the
height of each pulse must be carefully controlled. This is comparable to the
requirements for Super Audio CD playback. So to accomplish these goals, Sony
used technologies developed for our legendary SCD-1 Super Audio CD player.
Sony's own CXD9730 Large Scale Integrated circuit (LSI) provides the
S-Master Pro processing.
The S-Master Pro process converts the incoming signal to a one-bit
Complementary Pulse Length Modulation (C-PLM) stream, after which the Pulse
Height Volume control sets the volume level. The S-Master Pro process is
performed by the Sony CXD9730, a proprietary Sony Large Scale Integrated
circuit (LSI).
ES Receivers V3.0 Page 7
As a primary manufacturer of Large Scale Integrated circuits (LSIs),
Sony has the freedom to pursue innovative thinking like S-Master Pro
and then express this thinking in silicon. The result is the Sony
CXD9730.
The S-Master Pro system involves eight important technologies:
• Clean Data Cycle
• Synchronous Time Accuracy Controller (S-TACT)
• Complementary Pulse Length Modulation (C-PLM)
• Pulse Height Volume Control
• DC Phase Linearizer
• Discrete Output Transistors
• Toroidal Low Pass Filter
• Two-Stage Pulse Power Supply
Clean Data Cycle
While digital signals are inherently resistant to noise and distortion, they
are susceptible to time-base errors called jitter. Jitter can enter the signal during
recording, playback or transfer. Precise pulse timing is crucial to the S-Master
Pro circuit. For this reason, Sony uses powerful technology to suppress jitter.
The typical method of controlling jitter is Phase Locked Loop (PLL) clock
regeneration. While the method does a good job of controlling high-frequency
jitter, Sony also required excellent control at the low frequencies. That's why
Sony engineers developed the Clean Data Cycle, the first stage of the S-Master
process. Clean Data Cycle regenerates the digital signal with time-axis accuracy
equivalent to the original A/D converter at the recording studio.
ES Receivers V3.0 Page 8
Even if the amplitude of every digital sample is 100% accurate, timeaxis jitter can distort the analog result (top). Sony's Clean Data Cycle
actually calculates the original sampling interval and applies the
calculated timing to the signal (bottom).
Using a supremely accurate clock, the Clean Data Cycle examines
thousands of input pulses at a time, calculates the correct sampling interval and
applies the clean interval to the output data. In this way, jitter is completely
eliminated—and the integrity of the original musical signal is restored.
Low-distortion C-PLM
After the digital signal is stabilized by the Clean Data Cycle, S-Master Pro
converts it to Complementary Pulse Length Modulation (C-PLM)—an original
Sony technology. Previous digital amplifiers have used a 1-bit technology called
Pulse Width Modulation or PWM. That is to say, those digital amplifiers varied
the width of pulses. Unfortunately, PWM tends to expose the signal to secondorder harmonic distortion. C-PLM effectively controls the distortion, maintaining
the integrity of the musical signal.
Synchronous Time Accuracy Controller (S-TACT)
Because C-PLM conversion expresses the music in a different digital
form, the signal requires another round of correction for time-base errors. For
this purpose, Sony incorporates the Synchronous Time Accuracy Controller (STACT) circuitry we developed for the SCD-1 Super Audio CD player. S-TACT
effectively clears pulse generator jitter by referencing the output directly to the
master clock. This establishes extremely accurate pulse timing for amazingly low
distortion.
ES Receivers V3.0 Page 9
The Synchronous Time Accuracy Controller (S-TACT) maintains
accurate pulse timing at the output.
Pulse Height Volume Control
After S-TACT, the C-PLM signal passes to a Pulse Height volume
control—the place at which user volume adjustments are executed. Most digital
volume controls work by Digital Signal Processing. They adjust the sound by
multiplying the samples by a coefficient between zero and one. For example, to
achieve a volume setting 6 dB below maximum, you can multiply each sample by
0.5. This yields accurate results, but it does sacrifice some detail at the least
significant bit. Sony demanded more.
The full power pulse (A) represents the maximum setting of the volume
control. To turn the volume down 6 dB, the receiver cuts the voltage to
the power pulse generator in half (B).
In contrast, the Pulse Height Volume control adjusts the 1-bit C-PLM
stream by adjusting the regulator that supplies voltage to the power pulse
generator. Because this method does not modify or reshape the original digital
samples, there's no loss of information, no loss of detail. Sound quality is
maintained from very low volume settings like -50 dB all the way to maximum.
ES Receivers V3.0 Page 10
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