Sony LCSSA Installation guide

ES Series DVD-Video/CD/SA-CD Players
Technical Background
Version 3.0; June 2, 2003

ES Series DVD-Video/CD/SA-CD Players; Version 3.0 Page 2
Introduction
In 2002, the Sony DVP-NS999ES DVD player established an entirely new
Reference Standard for the category. It introduced new advancements in video
D/A conversion, new benchmarks in the coordination of audio and video signals
and new refinements in the purity and integrity of the digital video signal. Now
Sony extends these technological breakthroughs to two additional ES
components: the DVP-CX777ES Disc Explorer® 400-disc changer and the DVP-
NC555ES 5-disc changer.
It's no accident that these remarkable components come from Sony. And
it's no coincidence that they're part of Sony ES, the Elevated Standard in audio
and video. After all, Sony co-invented the technology that DVD is based upon—
the Compact Disc. We developed the error-correction and coding technology
inside every DVD disc and player. And we're involved in every link of the DVD
chain, from movie and music production to DVD authoring, mastering and
replication. No wonder Sony has consistently created top DVD players.
•DVP-S7000 (1997). Sony's first DVD player was quickly hailed by magazine
reviewers as the "Reference Standard." It became the centerpiece in the A/V
systems used to review DVD titles, televisions and other DVD players.
•DVP-S7700 (1998). A long list of audio, video and construction refinements
enabled enthusiasts to achieve even higher performance.
•DVP-S9000ES (2000). Sony's first DVD player with progressive scan 480P
output, this was also the first with Super Audio CD playback and the first to
wear the badge of Sony ES.
•DVP-NS900V (2001). Sony reinvented progressive scan DVD with pixel-by-
pixel I/P conversion and Sony extended Super Audio CD entertainment with
multi-channel playback.
•DVP-NS999ES (2002). Sony deployed Precision Cinema Progressive™
circuitry, along with a 14-bit/108 MHz video D/A converter, Speaker Time
Alignment and Audio-Video Alignment.
Sony's latest DVD-Video players bring this exalted technology to an even
broader range of potential customers.
Video Performance......................... Page 3
Audio Performance......................... Page 20
Construction Quality........................ Page 29
Convenience.............................. Page 37
At a Glance............................... Page 42
Appendix A: Progressive, Interlace and DVD....... Page 44
Appendix B: The Super Audio CD Format......... Page 50

ES Series DVD-Video/CD/SA-CD Players; Version 3.0 Page 3
Video Performance
Precision Cinema Progressive™ circuitry (all models)
The purpose of today's high-end home theater systems is to recreate the
look and sound of the movie theater. This includes the vivid detail and seamless
coherence of the film frame. A crucial technology for achieving this goal is DVD-
Video playback with progressive scanning, "480P" output. This works with the
many of today's "HD capable" and "HD monitor" televisions, which offer 480P
inputs. For example, Sony markets this capability as the Hi-Scan 1080i™
chassis. In this context, 480P outputs have been promoted as a must-have
feature in high-end DVD players. However, there continue to be important
differences in how DVD players generate the 480P signal. The DVP-NS999ES
was the first to incorporate Sony's Precision Cinema Progressive system, a
comprehensive approach that incorporates two significant circuits to deliver a
picture that comes closer than ever to the original movie theater experience.
•Pixel-by-Pixel Active interlace-to-progressive (I/P) conversion
•Vertical Edge Compensation
Pixel-by-Pixel Active I/P Conversion (all models)
Interlace-to-Progressive (I/P) conversion is a potentially tricky process.
Simplistic solutions like "frame memory" can end up creating motion artifacts that
mar the final result. These appear as zipper-like patterns on the left and right
edges of moving objects. (See Appendix A for the full story.) Players with "3-2
reverse conversion" overcome this limitation, maintaining the integrity of the
original film frames.
But extracting the full potential of the DVD-Video format requires even
more. Different types of DVD material require different types of conversion. An
I/P conversion strategy optimized for material originally shot on film will not get
the best results for material originally shot on video, and vice versa.

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The mathematical algorithms of Sony's Pixel-by-Pixel Active I/P
conversion have been committed to silicon in this Large Scale
Integrated circuit (LSI), the Sony CXD9698R.
Sony solves the problem with Pixel-by-Pixel Active I/P conversion that
includes built-in motion detection. This enables us to generate the ideal
progressive scanning output for each type of DVD source.
•Film originated material. For footage originally shot on 24-frames per
second film or film-like 24-frame progressive video, the Sony system
automatically and flawlessly detects the 3-2 cadence and performs full 3-2
reverse conversion. Mismatched film frames are never "force-fit" into a single
video frame. The system adds no motion blurring. You'll enjoy twice the
vertical resolution of conventional interlace video, for an experience that's less
like watching television and more like watching film.
•Film originated material on a DVD-R/RW or DVD+R/RW. DVD recorders
complicate the I/P conversion processes, because these recorders capture
everything as interlaced video. That means movies, even if they were
originally shot on film, are recorded as 30 frames per second interlaced, not
24 frames per second progressive. There are no First Field Repeat Flags
(FFRFs), leaving many DVD players unable to guess at the original frame
structure. In this case, conventional 3-2 reverse conversion will not work, but
Sony's Pixel-by-Pixel Active I/P conversion will. Thanks to built-in motion
detection, the Sony system does not depend on FFRFs. So you get accurate
reproduction on DVD-R/RW and DVD+R/RW discs.
•Film material intercut with interlaced video material. Sony's Pixel-by-
Pixel Active I/P conversion applies appropriate processing for film elements
and video elements, even when they alternate in rapid-fire sequence, as they
might during the "making of" documentary on a movie DVD. The Sony

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system instantly recognizes the characteristics and film and video and
automatically applies the correct processing for each.
•Film and interlaced video-originated material in the same scene. The
Sony system performs beautifully even when film and video appear on-screen
at the same time, for example, when video-originated subtitles are
superimposed over a film-originated scene. Because the Sony system
analyzes each individual pixel, it can switch processing modes anywhere—
even in the middle of a field! In contrast, conventional systems need to wait
until the end of the field before switching between film and video modes.
•Interlaced video originated material. Shooting on conventional, interlaced
video means capturing a new field of 240 interlaced scanning lines every 1/60
second. When subjects are moving, there can be significant differences from
each field to the next. It's a far cry from film origination, where the subjects
move each 1/24 second. Combining two video-originated fields of 240
interlaced scanning lines into one frame of 480 progressive scanning lines is
no simple task. For this reason, Sony's Pixel-by-Pixel Active I/P conversion
applies special processing for video originated material.
An on-screen display enables you to adjust the threshold of film and
video detection for each individual disc. Sony ES Series DVD-video
players can even store your setting for use the next time you play that
title!
In addition, the DVD-Video players of Sony ES enable you to adjust the
threshold of film and video detection. So you can optimize the I/P conversion for
the specific DVD you're watching. You get I/P conversion that's not only
amazingly smooth, but also exquisitely tuned to the individual needs of each
DVD. When you're done watching, the players can store the setting in memory.
So each time you play that title, you'll automatically get just the right conversion!
Three I/P conversion modes for
interlaced video origination (all models)
Many of today's DVDs feature concert videos, documentaries, current
events, sports, nature footage and other subjects originally captured on
conventional, interlaced video. Video based I/P conversion creates new pixels
from existing information. For example, to enable progressive scan output of an
odd video field, the player must create the pixels that compose all the even

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scanning lines. Unfortunately, this can result in motion blur. Horizontal lines in
the scene can flicker on and off. Other areas can suffer from an unnatural
shimmer. For this reason, any high-end progressive scanning system must solve
the problem of motion artifacts for footage shot on video.
Time sequence
Scanning
lines
ODD
current
EVEN
future
EVEN
Past 1
ODD Past 2
EVEN
Past 3
I/P conversion of interlaced video originated material. The red pixel, on
an even scanning line needs to be created for the current, odd field. If
not done properly, this can result in zipper-like edges on moving objects,
line flicker and unnatural shimmering.
Sony's Pixel-by-Pixel Active I/P conversion overcomes these problems
with built-in motion detection and three distinct video conversion algorithms: one
for still objects, a second for moving objects and a third, just for slow-moving
objects. As with film origination, the algorithms are applied separately for each
individual pixel. So all three can be applied to different parts of any given scene!

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The typical video frame includes pixels from on-screen objects that can
are still, moving and moving slowly. Sony Pixel-by-Pixel Active I/P
conversion applies separate processing for each.
Time sequence
Scanning
lines
ODD current
EVEN future
EVEN Past 1
ODD Past 2 EVEN
Past 3
Still pixels are simply created from the corresponding pixel in the
previous field.
Pixels for still objects are the easiest to handle. When objects are not
moving, the player can simply use the corresponding pixel from the previous field.
Because there is no motion, these pixels will match perfectly with the current field,
creating a seamless progressive scan output.
Still
Processing
Moving
Processing
Still Part Moving

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Time sequence
Scanning
lines
ODD current
EVEN future
EVEN Past 1
ODD Past 2 EVEN
Past 3
Moving pixels are created by composing adjacent pixels in the same
field. This minimizes motion blur.
Pixels for moving objects are created by composing pixels from scanning
lines immediately above and below within the same field. Because all
information comes from the same 1/60-second slice of time, this suppresses
motion artifacts. While this process does not result in the full improvement in
vertical resolution, the human eye is less sensitive to detail in moving objects.
Many conventional I/P conversion algorithms have these two modes: still
and motion. What's more, the two modes can even coexist in a single frame,
sometimes on a pixel-by-pixel basis. However, when objects are moving slowly,
the compromise in resolution can be noticeable. And when slow-moving objects
come to a complete stop (or still objects go into slow movement), the sudden
shift in resolution can be noticeable—and annoying.
Time sequence
Scanning
lines
ODD current
EVEN future
EVEN Past 1
ODD Past 2 EVEN
Past 3
Sony employs a third mode, specifically for slow-moving pixels. These
are created by a sophisticated hybrid algorithm, based on seven
adjacent pixels.

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Sony's Pixel-by-Pixel I/P conversion overcomes this problem by employing
a third mode conversion mode, specifically for slow motion. Slow-moving pixels
are composed via a sophisticated hybrid algorithm from seven pixels on adjacent
lines and fields, to reduce motion artifacts and annoying resolution shifts to a
minimum. This mode delivers superlative resolution on objects that are moving
slowly, stopping and starting. So the overall effect is a stunning improvement in
image detail, clarity and solidity.
Because the motion detection system operates pixel-by-pixel, the ES
Series players can employ all three algorithms simultaneously, to optimize every
area of the video scene. Still backgrounds are impressively sharp and detailed,
while moving objects in the same scene are free from motion artifacts. And slow-
moving objects don't shift in resolution. You'll see more consistent, more
satisfying, more seamless 480P output with a wider variety of discs. The visibility
of scanning lines is all but eliminated. Connect a 480P-compatible television,
monitor or projector and prepare to be amazed. You'll approach the full glory of
high definition picture quality—from today's standard DVDs.
Just as you can adjust the threshold of film/video detection, you can
optimize the still/motion detection for the specific requirements of the DVD you're
watching. As before, the player can memorize your Still/Motion threshold for
favorite discs. So each time you play a title, you'll automatically get just the right
conversion!
You can adjust the Still/Motion detection threshold with this on-screen
display. As before, you can store your setting for favorite discs in
memory.
Vertical Edge Compensation (all models)
As we've seen, Sony's Pixel-by-Pixel Active I/P conversion of video
sources suppresses the zipper-like effect that can occur when moving areas of
two interlaced fields are combined in the same progressive frame. It's a major
step forward in picture quality. But there is a second, less obvious artifact that
can occur in part of the video image part of the time. Most people would not
notice the artifact without being told when and where to watch for it. But Sony's
program for the ES Series required us to address even subtle distortions.
The problem is jaggedness in the edges that separate areas of the scene,
especially when the edges are straight lines, when they're diagonal and when

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there's a big difference in contrast between the areas they separate. Rooflines,
car hoods, venetian blinds and other lines in the scene can appear with
unwanted stair steps not in the original program. Sony's Vertical Edge
Compensation controls this artifact.
Sony's Vertical Edge Compensation uses a broad range of pixels on the
lines immediately above and below to calculate a pixel on moving edges.
This controls the jaggedness that can sometimes distort edges in the
video picture.
Vertical Edge Compensation uses the built-in motion detection to judge
motion at the pixel level and to detect edges. When the circuit detects an edge, it
refers to other edges within the field. The circuit then assembles data from a
broad range of pixels on the lines immediately above and below to calculate the
new pixel. This smoothes out the stair steps and results in consistent, natural-
looking lines throughout the picture. It's just one more way that Sony raises the
standard in DVD-Video picture quality.
14-bit D/A Converter (DVP-NS99ES)
12-bit D/A Converter (DVP-NC555ES, CX777ES)
The binary word length used in video digital-to-analog (D/A) conversion
helps determine the gray scale performance of the picture. This can be seen, for
example, in the play of light across the face of an actress, as the light of a candle
falls off into shadow. Longer word lengths contribute to smoother, more realistic
transitions from dark to light.
Starting with the DVP-S7000, Sony led the way with 10-bit video digital-to-
analog conversion. The DVP-NS900V raised the performance to 12-bit
conversion, producing four times the grayscale levels—performance now also
achieved by the DVP-NC555ES and CX777ES. The DVP-NS999ES
incorporates the Analog Devices ADV7304A, a 14-bit video D/A converter. This
produces yet again four times the grayscale levels—a total of 16 times as many
as earlier, 10-bit designs.
Pixels on the line above
Pixels on the line below
Pixel being created

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The 14-bit video D/A converter also includes the video encoder and
processing for Macrovision™ Copy Protection.
Sony applies the extended binary word length both to DVD's luminance
(Y) black-and-white channel and to DVD's two color difference channels (PBand
PR). So you get more accurate rendition of colors from the deepest black to the
brightest highlights.
108 MHz D/A converter (DVP-NS999ES)
216 MHz D/A converter (DVP-NC555ES, CX777ES)
In DVD-Video playback, the ultimate in picture detail comes into direct
conflict with the ultimate in picture clarity. Detail is a function of the video
"bandwidth" or "frequency response." The highest resolution details occupy the
highest video frequencies. Clarity is a function of video "noise." In the worst
case, noise appears as "snow" or flecks and specks of unwanted color. In more
subtle examples, noise appears as a texture or graininess not present in the
original picture. Sony ES Series players achieve a remarkable combination of
superb fine picture detail and excellent clarity, thanks to 108 MHz and 216 MHz
oversampling in the D/A converter.
To understand how oversampling can have such a powerful effect on
picture quality, it helps to understand the concepts of digital sampling and
aliasing noise.
Digital recording systems work by "sampling" the original source at a
specific rate, or "frequency." The frequency of sampling is determined by the
Nyquist Theorem, which dates back to 1928. Harry Nyquist calculated that the
sampling frequency needed to be at least twice the highest frequency in the
signal you need to record. For Compact Disc, which records audio frequencies
up to 20,000 cycles per second (20 kHz), we need 44,100 samples per second
(44.1 kHz). Because the video signal is much more complex, the frequencies are
far higher. To capture the exceptional fine picture detail of DVD, the black-and-
white or "luminance" channel records frequencies out to 6,750,000 Hz (6.75

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MHz). This means that DVD samples the video luminance channel at
13,500,000 Hz (13.5 MHz), as part of the DVD-Video format specification.
Channel Bandwidth Sampling Frequency
CD Audio 20,000 Hz 44,100 Hz
DVD-Video 6,750,000 Hz 13,500,000 Hz
Digital recording systems sample the analog input signal at a specific
rate or frequency at least twice the highest frequency of the channel.
For DVD-Video, the sampling frequency is 13,500,000 times per second
(13.5 MHz).
Nyquist sampling only works properly if the analog output is carefully
filtered of the aliasing noise that the digital process incurs. Fortunately, the
aliasing noise is consistently higher in frequency than the highest video
frequencies we want to recover. The noise appears in clusters at each multiple
of the sampling frequency, plus and minus the video bandwidth. Unfortunately,
the noise is very close to the video frequencies. The player must use a very
steep analog filter, which must be carefully constructed to pass all the video
frequencies and block all the aliasing noise. Normally, even slight errors in the
analog filter could cut the highest video frequencies—degrading picture detail—
or allow some aliasing noise to pass through—degrading picture clarity.
While these requirements are difficult for interlace scanning, progressive
scanning sets even more stringent requirements. Because progressive scanning
outputs twice as many horizontal lines per second, progressive playback
effectively doubles channel bandwidth to 13.5 MHz and doubles sampling
frequency to 27 MHz. Players need a minimum of 27 MHz sampling in order to
output a progressive signal.
Luminance Channel (Y)
Bandwidth
Luminance Channel (Y)
Sampling Frequency
DVD-Video Interlaced
Playback
6.75 MHz 13.5 MHz
DVD-Video Progressive
Playback
13.5 MHz, effective 27 MHz, effective
Progressive scanning effectively doubles both the video bandwidth and
the sampling frequency. While only the luminance (Y) channel is shown
here, this doubling also occurs for the two color difference channels (PB
and PR).

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For progressive scanning, running the D/A converter at the minimum
frequency of 27 MHz makes it extremely challenging to design the
analog low-pass filter. The filter (red curve) must be steep to avoid
cutting into the video signal (blue) or including some of the noise (pink).
The solution to this problem is to run the A/D converter at a higher
frequency than 27 MHz. This process shifts the aliasing noise up in frequency,
opening up substantial room between the video signal and the noise. With more
room, we can relax the design of the analog filter, which can be far milder in
slope, and far more effective at optimizing both the picture detail and the picture
clarity.
Oversampling at the 108 MHz frequency of the DVP-NS999ES makes a
huge difference. Now the noise is far removed from the video signal. A
gently sloping analog filter can effectively control noise while delivering
all the video detail to your television.
Oversampling has been used successfully in CD players for decades.
And while the video equivalent is harder to achieve, the effect is the same. The
D/A converter of the DVP-NS999ES shifts the sampling frequency from the
standard 13.5 MHz to 108 MHz. For progressive scan playback, that's 4x
oversampling. For interlaced playback, it's a whopping 8x oversampling.
Signal Loss
27 54 81 108 135 162 189 216
Frequency in MHz
27 MHz Sampling, Progressive Scan
Video
Signal Noise Noise Noise Noise Noise Noise Noise Noise
Analog Filter
Noise included with signal
27 54 81 108 135 162 189 216
Frequency in MHz
108 MHz Sampling, Progressive Scan (DVP-NS999ES)
Video
Signal Noise Noise
Analog Filter
Noise well separated from signal
Full detail of signal retained

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Oversampling at the 216 MHz frequency of the DVP-NC555ES and
DVP-CX777ES is even more dramatic
The DVP-NC555ES and DVP-CX777ES go further still, all the way to an
amazing 216 MHz oversampling. This corresponds to 8x oversampling for
progressive scan, 16x for interlaced playback. It's the most powerful
oversampling that Sony has ever built into a DVD player. You get superb clarity
with the effective suppression of video noise, while enjoying the full video
bandwidth for breathtaking picture detail.
Noise Shaped Video™ circuitry (all models)
While 108 MHz and 216 MHz oversampling deals with noise outside the
video frequency range, another circuit reduces noise within the frequency range.
That's important because the perceived transparency and depth of the video
image depends on controlling noise. Sony's D/A converter uses Noise Shaped
Video circuitry to shift noise from inside the visible frequency range to outside.
Even though the overall noise level remains the same, the perceived noise is
dramatically reduced. What's more, once shifted, the out-of-band noise is further
suppressed by the analog filter. The result is reproduction without flecks or
specks of unwanted color. You'll see a video picture that's vibrant, deep,
transparent and clean.
27 54 81 108 135 162 189 216
Frequency in MHz
216 MHz Sampling, Progressive Scan (DVP-NC555ES, CX777ES)
Video
Signal Noise
Analog Filter
Noise well separated from signal
Full detail of signal retained

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Noise Shaped Video and the higher 108 MHz and 216 MHz sampling
frequencies work together to cut video noise for improved transparency
and clarity.
Super Sub Alias Filter™ circuitry (all models)
The benefit of the 108 MHz and 216 MHz sampling rates is delivered by
the Super Sub Alias Filter circuits. In comparison to most previous designs,
these filters are now far more effective for two powerful reasons. First, the
sampling rates are higher ever. Second, while some previous designs deployed
Super Sub Alias Filter circuitry on the black-and-white (luminance) channel only,
all ES Series DVD players use these filters on all three video channels:
luminance (Y), blue color difference (PB) and red color difference (PR). This
results in a consistently clean, clear, vibrantly detailed color picture.
The typical filter leaves traces of the clusters of aliasing noise, which
look like lumps in the top diagram. Super Sub Sampling Alias Filter
circuits on the Y, PBand PRchannels control this aliasing noise more
effectively.

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"Below Black" reproduction (all models)
The DVD format dictates specific quantization for specific brightness
levels. For example, full black corresponds to a quantization of 16 while full
white corresponds to 235. However, direct-view CRTs, plasma panels, CRT
projectors and LCD projectors each have specific needs. For example, LCD
projectors are subject to "black float" and can benefit from a calibration "below
black." CRT direct view televisions tend to loose dark detail when viewed in
brightly-lit rooms.
Historically, gamma adjustment has matched the grayscale of a video
camera to the general transfer characteristics of CRTs. Sony's Graphical
Gamma Adjustment matches the grayscale performance of ES Series DVD
players to the specific transfer characteristics of your display. Used with a
commercially available calibration disc, the Graphical Gamma Adjustment can
achieve ideal reproduction.
The system enables you to make adjustments to gamma much like a
graphic equalizer adjusts audio frequency response. As with an audio equalizer,
aggressive adjustment can yield unnatural results. The controls are best used to
make gamma curves that are smooth and subtle. Sony's control offers eight
points of correction, each with 8-bit precision. And you can always return the
gamma controls to the industry-standard "flat" state at the touch of a button.
Graphical Gamma adjustment is like an eight-band graphic equalizer for
grayscale and black level.
Video Equalizer (all models)
Sony's Video Equalizer enables you to fine-tune the picture quality of each
disc you watch. You can adjust Picture, Brightness, Color, Hue and Chroma
Delay in addition to Graphical Gamma Adjustment. And once you've optimized
the picture for a particular disc, Sony ES Series DVD players can commit your

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settings to memory. The DVP-NS999ES has memory for 300 discs. As a 400-
disc changer, the DVP-CX777ES has memory for all 400 discs. And the DVP-
NS555ES has memory for 30 discs.
Separate analog video circuit board with
separate power supply (DVP-NS999ES)
The digital and control circuits of any DVD player generate high-frequency
radiation that can affect other circuits in the chassis. This noise can potentially
impair low level analog signals. To prevent any cross-interference, Sony
carefully separates the digital circuits from the analog circuits, mounting them on
separate circuit boards. This maintains the purity of the analog signal for
consistently clean video images.
To maintain the purity of the signal, Sony places the analog video
circuitry on a separate board, driven by its own power supply.
Because digital noise can corrupt the DC voltage, the power supply is
another potential path of interference. That's why Sony was the first brand of
DVD players to give the analog circuit block its own series power supply. This
ensures power that's both abundant and clean.
Sony also uses video filters designed specifically for both interlaced and
progressive signals in all three channels (Y, PBand PR). All told, there are nine
channels of video filtering: interlaced component Y/PB/PR, progressive
component Y/PB/PRand Y/PB/PRchannels filtered prior to composite or S-Video
encoding. Sony engineered each filter to match the specific operation bandwidth
and sampling frequencies of the signal. This achieves phase linearity while it
holds noise and distortion to a minimum.

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High speed video buffer amplifiers (DVP-NS999ES)
While Sony can control the video signal inside the DVP-NS999ES, there's
one aspect we can't control: the cables that convey the signal to your television.
In particular, the long cable runs found in many home theater installations can be
highly capacitive. This tends to degrade the video signal, softening the picture
and limiting the video bandwidth. To counter this possibility, Sony incorporates
high-speed video buffer amplifiers. High slew-rate op amps handle large loads
with very low overshoot. You get a powerful driving force for the video signals,
even over long cable runs. As a result, the video signal delivered to the
television has extremely low levels of noise, differential gain and differential
phase.
Block diagram of the DVP-NS999ES video circuit. You can see the
separate digital circuit board (left) and analog circuit board (right). At
center, you can see the nine channels of low-pass filtering. On the right
are the video buffer op amps.
Output Capacitor-Less (OCL) coupling (DVP-NS999ES)
In typical audio and video design, an output capacitor prevents the
accidental passing of DC offset voltage from one piece of equipment to the next.
However, the mere presence of the output capacitor can affect the video
frequency response and literally tinge the television picture with unwanted
shading. And these effects can't be corrected by your television's picture
controls. Sony's answer is a rigorous design that controls DC offset voltages

ES Series DVD-Video/CD/SA-CD Players; Version 3.0 Page 19
from the start. You get reliable operation without performance-robbing output
capacitors.
Carefully selected parts (DVP-NS999ES)
More than a labor of technology, the DVP-NS999ES represents the
enthusiasm that Sony engineers share with high-end videophiles. That's why the
player incorporates a variety of carefully selected resistors, inductors,
semiconductors and capacitors. Each plays a specific role in maximizing video
performance.
Low Distortion Film Capacitors. While electrolytic capacitors are suited to
power supply filtering, film capacitors are especially proficient for sound and
picture. Many of these low-distortion capacitors contribute to the outstanding
performance of the DVP-NS999ES.
Oversized output resistors. Output resistors determine the impedance of
the analog output circuits. Most designers avoid large resistors. But Sony
incorporates large resistors of uncommonly tight tolerances. This contributes
to the high slew rates required for wideband video.
Output Signal Relay. To simplify connections to your television, the DVP-
NS999ES uses a common set of component video terminals for both
progressive and interlaced output. Naturally, this requires output switching.
While conventional designs use semiconductor switches, Sony employs a
high-quality mechanical relay. It's a more expensive design that delivers
more positive connections, lower resistance and lower noise across the
switch. Progressive and interlaced output can be selected via on-screen
menus or via a switch on the rear panel.
Wide pitch output jacks (DVP-NS999ES, NC555ES)
Sony engineers even anticipated the high-grade output cables that
videophiles are likely to use. On the DVP-NS999ES and NC555ES, Sony
deliberately spaced the Y/PB/PRoutput jacks further apart than common practice,
the better to accommodate heavy-gauge cables and plugs!
The spacing or "pitch" between the component video output jacks is
wider than usual, to accommodate heavy-gauge cables and plugs.

ES Series DVD-Video/CD/SA-CD Players; Version 3.0 Page 20
Audio Performance
In addition to DVD-Video and Compact Discs, all of these models also
bring home sumptuous high-resolution audio, playing back both stereo and multi-
channel Super Audio CDs. You'll hear the inner detail of choral ensembles. The
reverberation trailing from a guitar chord. And the acoustic space surrounding
the instruments. With Super Audio CD, you hear every nuance of sound
reproduced with incredible ease and clarity. (For the full story on Super Audio
CD and its innovative Direct Stream Digital™ encoding process, please see
Appendix B.)
Multi-channel Super Audio CD playback (all models)
Sony ES Series DVD-Video players take full advantage of the latest
generation of multi-channel Super Audio CD music. Multi-channel Super Audio
CD gives producers the ability to capture the precise ambience and reverberation
that give any concert hall, jazz club or recording studio its characteristic "sound."
Multi-channel Super Audio CD doesn't just bring the performer to your room; it
puts you into the performer's space. The result can be overwhelming. By
combining this fully dimensional soundstage with the uncanny clarity of DSD
technology, Sony ES Series DVD players offer music reproduction that's nothing
short of brilliant.
DSD decoder LSI (all models)
The Super Audio CD’s 1-bit signal is processed and decoded by Sony's
CXD2753 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 internal memory to take data
that's output intermittently from the disc, rearrange it and order it into continuous
1-bit audio streams. This LSI also reads sub code data such as the Table of
Contents, track number, track time, and text data.