| 47 LABORATORY 4713 FLATFISH CD TRANSPORT/PLAYER 4705 PROGRESSION DAC: A BACKGROUND COMMENTARY by Constantine Soo April 21, 2002 |
| Go to REVIEW |
| Specifications: 4713 Flatfish: DAC: 4x oversampling, 1-bit Digital Output: 2 Coaxial (RCA) outputs Analog Output: 1 Unbalanced (RCA) output Dimensions: 170mm × 245mm × 60mm Price: $3,600 (without Power Dumpty power supply) 4705 Progression DAC Specifications: Input sampling frequency: 32 kHz, 44 kHz, 48 kHz (automatic) Output voltage: 2.1V Digital Input: 1 Coaxial Analog Output: 1 pair, Unbalanced Dimensions: 60mm × 162 mm × 70mm Price: $2,700 4799 Power Dumpty power supply Specifications: Application: Power supply for both Flatfish and Progressive Dimensions: 130mm × 195mm Price: $1,800 System Price: $8,100 Address: USA Distributor Sakura Systems 2 Rocky Mountain Road Jefferson, MA 01522 Telephone: 508-829-3426 Email: sakurastms@aol.com Website: www.sakurasystems.com |
April 2002 marks the twenty-first anniversary of the CD, and in that time
the format has gone through two decades of refinement in the forms of
oversampling, jitter reduction, upsampling and so forth. In our
continuing understanding of the CD playback process, each innovation
resulted in higher levels of sophistication, propelling CD playback to an
unprecedented summit. The most noted member born from a
crystallization of all these efforts is possibly the $20,000 Linn CD-12 as
reviewed by Jim Merod.
In today's marketplace, where advanced and market-dominating
mainstream CD players are featuring variations of the aforementioned
techniques, 47 Laboratory introduces its statement DAC based on a
"Non-oversampling, Digital-filter-less DAC Concept."
47 LABORATORY
After careers at prestigious high-end audio equipment manufacturers
Luxman and Kyocera, Mr. Junji Kimura founded 47 Laboratory in 1992.
In naming his new company, Kimura took the colors of yellow (ki-iroi)
and purple (mura-zaki), which contain the syllables of his family name,
then coded the colors using resistor color-coding standard of 4 for
yellow and 7 for purple. Thus was born 47 Laboratory.
Mr. Yoshi Segoshi of Sakura Systems, 47 Lab's U.S. exclusive
distributor, hosted an Interview with 47 Lab, during which 47 Lab's
president and chief designer Kimura, and his marketing director Mr. Koji
Teramura, iterated 47 Lab's commitment in refining Redbook CD
playback. Convinced of the Redbook CD's engineering validity and
unharnessed playback potential, 47 Lab considers the audio industry's
latest venture into high-capacity digital audio formats as irresponsible,
and in 2001 released its statement product, the $25,000 4704 PiTracer
CD transport.
The aforementioned "Non-oversampling, Digital-filter-less DAC Concept"
is authored by Mr. Ryohei Kusunoki, of whose theory Kimura is an
advocate. Published in the November 1996 to December 1997 issues of
the Japanese MJ Audio Technology magazine, Kusunoki theorizes on an
advanced mode of CD playback technique without resorting to
oversampling and digital filtering:
"The difference between the non-oversampling [digital-filter-less] DAC
and the conventional DAC with the digital filter lies whether you attach
importance on the accuracy in the time domain or in the frequency
domain. In other words, whether you choose the musical performance or
the quality of a sound. This trade-off line defines the boundary of the
current digital audio format."
The time and frequency domains Kusunoki was referring to are the CD
standard's 44.1 kHz time domain and 16-bit frequency (or amplitude)
domain. Convinced of the Redbook CD's engineering validity and
potential, Kusunoki opined on the digital audio progress in the following
excerpt:
"…in the next generation digital format offered today, the selling points
for better sound are quantizing bit numbers and sampling frequency
rates. It only means lowering of distortions and extension of frequency
range. The appearance of CD was an epoch-making event as a new
format to follow LP. It delivered the sound of the master tape to our
listening room. It was a crystallization of efforts of the engineers of that
time."
In regard to the digital filter, Kusunoki believes it is an unnecessary evil.
He claims that in both recording and playback, a typical digital filter
collects data in series, creating a resultant cumulative delay so large that
it would become detectable by the human ear ultimately.
Citing the workings of the 8x-oversampling high performance digital filter
"SM5842" as example, Kusunoki claims a normally insignificant 0.22-
millisecond inherent delay in each sampling process will be aggregated
into a highly audible 2.13-millescond total delay time in the SM5842's 8x-
oversampling. Claiming a further inevitability of "diffusion of sound
coherence" from such serially collected data with the assumption that the
signals are intervening with each other, Kusunoki concludes that the less
oversampling, the better. He cites examples from prestigious firms such
as Wadia and Luxman with their 13 and 3 tap achievements respectively
- a tap being the waiting interval for signals in a sampling process - as he
believes the smaller the number of taps would control such diffusion
more effectively, providing the inherent advantage of his non-
oversampling DAC. Furthermore, Kusunoki considers noise reduction
characteristics of digital filters as detrimental given the adversely
generated frequency and phase distortions.
In regard to today's sophisticated designs in oversampling, Kusunoki
also reiterates that oversampling is simply a technique enabling use of
gentler analog filter without generating additional information. He also
states that in creating more samples, oversampling proportionately
creates more errors as well. Therefore, in reiterating the theoretically
superior accuracy of 16-bit non-oversampling versus 8x-
oversampling/20-bit, Kusunoki summarizes that:
"A natural, stress-free sound that communicates the musicians' intention
directly to you…is the sound of non-oversampling DAC. The feel of this
sound is closer to that of analog reproduction."
On signal jitter, Kusunoki believes that a controlled, strategic distribution
of jitter will represent a cost-effective and realistic approach in yielding an
audibly more refined CD sound versus an across-the-band reduction
technique. In conclusion, he states that the 44.1 kHz time-domain
properties are the determinants of musicality in the D/A conversion
process, whereas frequency-domain issues, such as jitter and noise, are
secondary and their roles have been overemphasized by the industry.
THE 4705 PROGRESSION "NON-OVERSAMPLING, DIGITAL-FILTER-LESS" DAC
Kusunoki's concept is incorporated into the current statement DAC
product of Kimura's 47 Lab, the 4705 Progression, which features one
surface-mounted 75-ohm digital RCA input and one pair of analog RCA
outputs. Design highlights are: absence of both analog and digital filters,
non-oversampling, passive I/V conversion, claimed shortest signal path
of 35 mm among all DACs, and claimed smallest number of parts used in
any DAC, namely 20 parts in total. The unit automatically adjusts to
incoming sampling frequencies of 32 kHz, 44 kHz and 48 kHz and
supports 24-bit 96k Hz signal conversion.
Miniature in dimensions, the 4705 Progression is unexpectedly heavy at
10 lbs. Supposedly subduing digital noise dispersion, two pieces of solid
aluminum block anodized in black on the upper half and in brushed steel
on the bottom half constitute the casing of the Progression. 47 Lab
claims significant chassis stress reduction with the use of only 3 screws,
resulting in "quick transient response, totally stable imaging and…flat
energy balance of the sound." 47Lab also claims the DAC's concave top
and bottom serve to "function as spike feet to release the vibrations
smoothly and stabilize itself without any insulators underneath."
With no frequency filtering in the Progression, 47 Laboratory urges user
discretion in amplifier-speaker matching as energy output equivalent to
one-third of the music signal at 22k Hz will occur. Sakura Systems
stresses the importance of matching ribbon or piezzo speakers to
amplifiers of recommended power ratings. In addition to my observation
to follow, refer to the Sakura Systems website for more information.
4713 FLATFISH CD PLAYER/TRANSPORT
Interestingly resembling the Doctor McCoy away-mission portable
scanner from the 60's Star Trek, the Flatfish is the smallest single-box
CD player I've seen for high-end audio applications. Flamboyant or
impressive-looking it certainly is not. According to the Owner's Manual,
the Flatfish's specific mass and weight are engineered to release
disruptive vibrations. 47 Lab believes that damping a chassis will create
delays and modulations in the flow of current, therefore, by constructing
a compact and rigid chassis, a quick and proper channeling of mechanical
resonance, rather than an over-damping of it, will produce sonically
superior results.
In strict adherence to this design philosophy, elevated by a few
centimeters and resting loosely on three tubular stainless steel feet in
triangular formation, the Flatfish is at the mercy of user discreetness in
remaining stable. To avoid toppling it, extra care must be observed in
applying force to inserting and pulling cables from the unit's rear.
Said to be almost completely free of any construction stress, the 150g,
0.67inch-thick machined aluminum board doubles its role as the platform
and casing of the Flatfish, as well as mounting board for all the driving,
pick-up mechanisms and circuits. 47 Lab claims that the unit's lightness
and the slightly off-centered spindle summarily diffuse vibrations, which
enables minimal reliance on servo-controlled correction system that is
sonically detrimental. The company also claims to have achieved quick
transient response, thanks to the compactness of the platform and small
surface area that limits stored vibration energy to a minimum.
With the exception of the remote sensor that faces the listener, all
functions are accessible only from the top, lending a quaint look befitting
the humorous Flatfish designation. 47 Lab employs four small surface-
mounted toggle switches to control the functions of power on/off,
Stop/TOC, Music Skip, Pause/Play. Located on the rear are digital coaxial
outputs 1 & 2, and a pair of RCA analog outputs. The most unique top-
loading design I've seen, there is neither a disc chamber nor cover. With
the spindle being the only breaking point above the surface, the spindle
base is at the same level of the unit's top plate, utterly exposing the
laser and pickup mechanisms when not covered by either a mounted CD
or the included white acrylic lens protector.
After being lowered through the spindle, a CD's inner ring rests
tentatively above the spindle base. A very small, acrylic center cap screws
down on the spindle, holding the disc firmly in place. As the disc-loading
process is entirely manual, the Flatfish won't spin or access the Table of
Contents until the user flips the TOC toggle switch. Afterwards, the sky-
facing LED window will display total time and number of tracks. Again,
from the listening position, track information becomes guesswork as the
display is out of sight.
The Flatfish's center cap is a far cry from the flattening and stabilizing
functionality of my CEC TL1's substantial full-disc stabilizer. In fact, as
my Salamander Synergy 20's top shelf on which the Flatfish rested was
lower than thigh height, I constantly witnessed the alarming and
discomforting sight of CDs spinning in open air. Despite 47 Lab's claimed
minimization of construction stress and disruptive vibrations as
advantages of the design, it is intriguing that 47 Lab would decide on a
transport mechanism that is not shielded from environmental intrusions.
It therefore served as little comfort from the fact that the laser assembly
read from underneath the disc and not above, exposing the transport
innards and the CD's label to dust collection.
4799 POWER DUMPTY POWER SUPPLY
Neither the Flatfish nor the Progression could be self-powered and the
standalone Power Dumpty acted as a shared power supply for both
units. Via exclusive power line cables, the Power Dumpty featured two
rear power outputs designed specifically for powering up both Flatfish
and Progression. The Power Dumpty itself drew power via a generic IEC
AC cord.
EPILOGUE
Although "Only the Simplest can Accommodate the Most Complex" is Mr.
Kimura's design philosophy, his products share no utter inference with a
crude, elementary design. While the appearances of both the Flatfish and
Progression are admittedly bare, they are the fruition of advanced
understanding in related fields of digital audio and the laws of physics.
His approach to simplicity is by far the most comprehensive I've
encountered.
The Progression is a product of a taxing evolutionary process. Its high-
performance DAC chip, a vital building block in the Progression's
performance, is an embodiment of the latest in circuit miniaturization. In
addition, Kimura's unique accomplishment of extreme signal path
minimization was undoubtedly a distillation of decades of experiences and
experimentation from his former endeavors. Therefore, the collaboration
of Kimura and Kusunoki, leading up to the noted refinement in theory
and practice, deserves admiration and congratulation.
I will mention here that the sound of the Flatfish and Progression versus
that of the CEC TL1 and Wadia 27 represented for me not disparity, but
rather a testimonial to the venues advanced and adopted by brilliant
designers in the maximization of CD format's potential. The inevitable
and shocking advancement of CD playback quality as personified by the
47 Lab gear both dismays and excites me. I wholeheartedly consider my
five-year ownership of the CEC/Wadia system an indispensable and
rewarding experience because, as if in preparation for this review, the
unique perspective the ownership accorded me expelled all groundless
prejudices toward the 47 Laboratory Flatfish transport and Progression
DAC in their laboratory-style encapsulation. See you next installment
with my subjective evaluations.
the format has gone through two decades of refinement in the forms of
oversampling, jitter reduction, upsampling and so forth. In our
continuing understanding of the CD playback process, each innovation
resulted in higher levels of sophistication, propelling CD playback to an
unprecedented summit. The most noted member born from a
crystallization of all these efforts is possibly the $20,000 Linn CD-12 as
reviewed by Jim Merod.
In today's marketplace, where advanced and market-dominating
mainstream CD players are featuring variations of the aforementioned
techniques, 47 Laboratory introduces its statement DAC based on a
"Non-oversampling, Digital-filter-less DAC Concept."
47 LABORATORY
After careers at prestigious high-end audio equipment manufacturers
Luxman and Kyocera, Mr. Junji Kimura founded 47 Laboratory in 1992.
In naming his new company, Kimura took the colors of yellow (ki-iroi)
and purple (mura-zaki), which contain the syllables of his family name,
then coded the colors using resistor color-coding standard of 4 for
yellow and 7 for purple. Thus was born 47 Laboratory.
Mr. Yoshi Segoshi of Sakura Systems, 47 Lab's U.S. exclusive
distributor, hosted an Interview with 47 Lab, during which 47 Lab's
president and chief designer Kimura, and his marketing director Mr. Koji
Teramura, iterated 47 Lab's commitment in refining Redbook CD
playback. Convinced of the Redbook CD's engineering validity and
unharnessed playback potential, 47 Lab considers the audio industry's
latest venture into high-capacity digital audio formats as irresponsible,
and in 2001 released its statement product, the $25,000 4704 PiTracer
CD transport.
The aforementioned "Non-oversampling, Digital-filter-less DAC Concept"
is authored by Mr. Ryohei Kusunoki, of whose theory Kimura is an
advocate. Published in the November 1996 to December 1997 issues of
the Japanese MJ Audio Technology magazine, Kusunoki theorizes on an
advanced mode of CD playback technique without resorting to
oversampling and digital filtering:
"The difference between the non-oversampling [digital-filter-less] DAC
and the conventional DAC with the digital filter lies whether you attach
importance on the accuracy in the time domain or in the frequency
domain. In other words, whether you choose the musical performance or
the quality of a sound. This trade-off line defines the boundary of the
current digital audio format."
The time and frequency domains Kusunoki was referring to are the CD
standard's 44.1 kHz time domain and 16-bit frequency (or amplitude)
domain. Convinced of the Redbook CD's engineering validity and
potential, Kusunoki opined on the digital audio progress in the following
excerpt:
"…in the next generation digital format offered today, the selling points
for better sound are quantizing bit numbers and sampling frequency
rates. It only means lowering of distortions and extension of frequency
range. The appearance of CD was an epoch-making event as a new
format to follow LP. It delivered the sound of the master tape to our
listening room. It was a crystallization of efforts of the engineers of that
time."
In regard to the digital filter, Kusunoki believes it is an unnecessary evil.
He claims that in both recording and playback, a typical digital filter
collects data in series, creating a resultant cumulative delay so large that
it would become detectable by the human ear ultimately.
Citing the workings of the 8x-oversampling high performance digital filter
"SM5842" as example, Kusunoki claims a normally insignificant 0.22-
millisecond inherent delay in each sampling process will be aggregated
into a highly audible 2.13-millescond total delay time in the SM5842's 8x-
oversampling. Claiming a further inevitability of "diffusion of sound
coherence" from such serially collected data with the assumption that the
signals are intervening with each other, Kusunoki concludes that the less
oversampling, the better. He cites examples from prestigious firms such
as Wadia and Luxman with their 13 and 3 tap achievements respectively
- a tap being the waiting interval for signals in a sampling process - as he
believes the smaller the number of taps would control such diffusion
more effectively, providing the inherent advantage of his non-
oversampling DAC. Furthermore, Kusunoki considers noise reduction
characteristics of digital filters as detrimental given the adversely
generated frequency and phase distortions.
In regard to today's sophisticated designs in oversampling, Kusunoki
also reiterates that oversampling is simply a technique enabling use of
gentler analog filter without generating additional information. He also
states that in creating more samples, oversampling proportionately
creates more errors as well. Therefore, in reiterating the theoretically
superior accuracy of 16-bit non-oversampling versus 8x-
oversampling/20-bit, Kusunoki summarizes that:
"A natural, stress-free sound that communicates the musicians' intention
directly to you…is the sound of non-oversampling DAC. The feel of this
sound is closer to that of analog reproduction."
On signal jitter, Kusunoki believes that a controlled, strategic distribution
of jitter will represent a cost-effective and realistic approach in yielding an
audibly more refined CD sound versus an across-the-band reduction
technique. In conclusion, he states that the 44.1 kHz time-domain
properties are the determinants of musicality in the D/A conversion
process, whereas frequency-domain issues, such as jitter and noise, are
secondary and their roles have been overemphasized by the industry.
THE 4705 PROGRESSION "NON-OVERSAMPLING, DIGITAL-FILTER-LESS" DAC
Kusunoki's concept is incorporated into the current statement DAC
product of Kimura's 47 Lab, the 4705 Progression, which features one
surface-mounted 75-ohm digital RCA input and one pair of analog RCA
outputs. Design highlights are: absence of both analog and digital filters,
non-oversampling, passive I/V conversion, claimed shortest signal path
of 35 mm among all DACs, and claimed smallest number of parts used in
any DAC, namely 20 parts in total. The unit automatically adjusts to
incoming sampling frequencies of 32 kHz, 44 kHz and 48 kHz and
supports 24-bit 96k Hz signal conversion.
Miniature in dimensions, the 4705 Progression is unexpectedly heavy at
10 lbs. Supposedly subduing digital noise dispersion, two pieces of solid
aluminum block anodized in black on the upper half and in brushed steel
on the bottom half constitute the casing of the Progression. 47 Lab
claims significant chassis stress reduction with the use of only 3 screws,
resulting in "quick transient response, totally stable imaging and…flat
energy balance of the sound." 47Lab also claims the DAC's concave top
and bottom serve to "function as spike feet to release the vibrations
smoothly and stabilize itself without any insulators underneath."
With no frequency filtering in the Progression, 47 Laboratory urges user
discretion in amplifier-speaker matching as energy output equivalent to
one-third of the music signal at 22k Hz will occur. Sakura Systems
stresses the importance of matching ribbon or piezzo speakers to
amplifiers of recommended power ratings. In addition to my observation
to follow, refer to the Sakura Systems website for more information.
4713 FLATFISH CD PLAYER/TRANSPORT
Interestingly resembling the Doctor McCoy away-mission portable
scanner from the 60's Star Trek, the Flatfish is the smallest single-box
CD player I've seen for high-end audio applications. Flamboyant or
impressive-looking it certainly is not. According to the Owner's Manual,
the Flatfish's specific mass and weight are engineered to release
disruptive vibrations. 47 Lab believes that damping a chassis will create
delays and modulations in the flow of current, therefore, by constructing
a compact and rigid chassis, a quick and proper channeling of mechanical
resonance, rather than an over-damping of it, will produce sonically
superior results.
In strict adherence to this design philosophy, elevated by a few
centimeters and resting loosely on three tubular stainless steel feet in
triangular formation, the Flatfish is at the mercy of user discreetness in
remaining stable. To avoid toppling it, extra care must be observed in
applying force to inserting and pulling cables from the unit's rear.
Said to be almost completely free of any construction stress, the 150g,
0.67inch-thick machined aluminum board doubles its role as the platform
and casing of the Flatfish, as well as mounting board for all the driving,
pick-up mechanisms and circuits. 47 Lab claims that the unit's lightness
and the slightly off-centered spindle summarily diffuse vibrations, which
enables minimal reliance on servo-controlled correction system that is
sonically detrimental. The company also claims to have achieved quick
transient response, thanks to the compactness of the platform and small
surface area that limits stored vibration energy to a minimum.
With the exception of the remote sensor that faces the listener, all
functions are accessible only from the top, lending a quaint look befitting
the humorous Flatfish designation. 47 Lab employs four small surface-
mounted toggle switches to control the functions of power on/off,
Stop/TOC, Music Skip, Pause/Play. Located on the rear are digital coaxial
outputs 1 & 2, and a pair of RCA analog outputs. The most unique top-
loading design I've seen, there is neither a disc chamber nor cover. With
the spindle being the only breaking point above the surface, the spindle
base is at the same level of the unit's top plate, utterly exposing the
laser and pickup mechanisms when not covered by either a mounted CD
or the included white acrylic lens protector.
After being lowered through the spindle, a CD's inner ring rests
tentatively above the spindle base. A very small, acrylic center cap screws
down on the spindle, holding the disc firmly in place. As the disc-loading
process is entirely manual, the Flatfish won't spin or access the Table of
Contents until the user flips the TOC toggle switch. Afterwards, the sky-
facing LED window will display total time and number of tracks. Again,
from the listening position, track information becomes guesswork as the
display is out of sight.
The Flatfish's center cap is a far cry from the flattening and stabilizing
functionality of my CEC TL1's substantial full-disc stabilizer. In fact, as
my Salamander Synergy 20's top shelf on which the Flatfish rested was
lower than thigh height, I constantly witnessed the alarming and
discomforting sight of CDs spinning in open air. Despite 47 Lab's claimed
minimization of construction stress and disruptive vibrations as
advantages of the design, it is intriguing that 47 Lab would decide on a
transport mechanism that is not shielded from environmental intrusions.
It therefore served as little comfort from the fact that the laser assembly
read from underneath the disc and not above, exposing the transport
innards and the CD's label to dust collection.
4799 POWER DUMPTY POWER SUPPLY
Neither the Flatfish nor the Progression could be self-powered and the
standalone Power Dumpty acted as a shared power supply for both
units. Via exclusive power line cables, the Power Dumpty featured two
rear power outputs designed specifically for powering up both Flatfish
and Progression. The Power Dumpty itself drew power via a generic IEC
AC cord.
EPILOGUE
Although "Only the Simplest can Accommodate the Most Complex" is Mr.
Kimura's design philosophy, his products share no utter inference with a
crude, elementary design. While the appearances of both the Flatfish and
Progression are admittedly bare, they are the fruition of advanced
understanding in related fields of digital audio and the laws of physics.
His approach to simplicity is by far the most comprehensive I've
encountered.
The Progression is a product of a taxing evolutionary process. Its high-
performance DAC chip, a vital building block in the Progression's
performance, is an embodiment of the latest in circuit miniaturization. In
addition, Kimura's unique accomplishment of extreme signal path
minimization was undoubtedly a distillation of decades of experiences and
experimentation from his former endeavors. Therefore, the collaboration
of Kimura and Kusunoki, leading up to the noted refinement in theory
and practice, deserves admiration and congratulation.
I will mention here that the sound of the Flatfish and Progression versus
that of the CEC TL1 and Wadia 27 represented for me not disparity, but
rather a testimonial to the venues advanced and adopted by brilliant
designers in the maximization of CD format's potential. The inevitable
and shocking advancement of CD playback quality as personified by the
47 Lab gear both dismays and excites me. I wholeheartedly consider my
five-year ownership of the CEC/Wadia system an indispensable and
rewarding experience because, as if in preparation for this review, the
unique perspective the ownership accorded me expelled all groundless
prejudices toward the 47 Laboratory Flatfish transport and Progression
DAC in their laboratory-style encapsulation. See you next installment
with my subjective evaluations.
| Go to REVIEW |
