Kenn 39, I agree with your thinking in theory; I have no idea how Peter Forsell did it, and it certainly doesn't make any sense to me as to how it could happen either, but his transport consistently has had more of the analog-like "bloom" with individual images in the soundstage and a much wider and deeper overall soundstage than other transports I have tried in my system, particularly in its first version (when I had it upgraded to Mk. IV, it gained a little more focus, though not enough to make it sound like a Levinson or Wadia); in addition, I could always play it louder (something you can always do with analog) than other transports I tried, as the digital edge you sometimes get when listening at higher volumes is not there. I am not an engineer, so I can't explain how it was done, but it is noticeable. I do know he used particularly good parts in the building of the unit, hand-chosen for the sonic signature he wanted to achieve, that likely is the main part of the explanation. I'll also note that this transport is particularly affected by isolation devices, which shouldn't in my mind make a big difference in ones and zeros either but does.