Talking of which, as well as listening to the Koras for an extended period and in isolation, I also directly compared the CSA-1200s to the VTL S-400 II, as well as the CH-Precision M1.1, used in stereo, mono-bloc and bi-amp mode, driving either the Diptyque Reference II planar magnetic di-poles or the Peak Consult El Diablos. The M1.1 continues to set the standard for solid-state amplification at or around the Koras’ price, yet it’s a contest the French amps are happy to take on.
So much for the nuts and bolts – how about the sound?
The vocabulary that we collectively use (abuse and often misunderstand) in describing something as ephemeral as ‘sound’ is certainly open to interpretation, if nothing else. One man’s “rich, warm and inviting” is another’s “rounded, soggy and congested.” But if you want to hear ‘tonal density’ defined in action, look no further than the Kora CSA-1200s. Their ability to capture the harmonic envelope of acoustic instruments, tying together the skin, strings or vibrating air with the material body of the instrument, is quite remarkable. What works for a fiddle or flute is arguably even more impressive when it comes to voices. No other amplifier I’ve heard – certainly no other amplifier at or around this price, with this amount of power and the system versatility that goes with it – has captured the character and diction of the human voice so convincingly. It’s about preserving the acoustic energy being generated and reflecting the how (or more importantly, the why) that’s driving it.
But what really makes the Koras’ musical delivery special and distinctive is that their natural tonal acuity is married to a fluid temporal articulation. This isn’t about absolute clarity and note-by-note precision: it’s more about shape and phrasing. Rather than time being defined by the space between notes, it offers an overall coherence within which the music’s rhythms and phrases fit. In this, the amps are reminiscent of the top-flight Crystal Cables – and are just as communicative, engaging and listenable.
As I’ve already noted the CSA-1200s occupy an interesting space in the market. This pair of 200Watt hybrid mono-blocs costs a little more than the (all-tube, stereo) VTL S-400 II, almost the same as a single CH Precision M1.1 (also stereo), or half the price of a pair. As noted in the introduction, both physically and on paper, with its twin chassis, mono configuration, this is a lot of amp(s) for your money – which is just as well, as it’s facing some pretty stiff competition. Kora’s schtick is that their amps sound neither solid-state nor tube, but simply sound like music. This “best of both worlds” line isn’t exactly new, but at least in this instance, there’s more than a hint of substance to the claims. The result is one of the more interesting and enjoyable amps to come my way in recent years – and one that establishes its own set of performance strengths and musical territory. That separation from established benchmarks is as apparent as it is important to understanding the Kora amps as a whole. So, let’s start with where the CSA-1200 falls short of those incumbent amplifiers.
