{"id":32498,"date":"2022-07-09T14:47:28","date_gmt":"2022-07-09T12:47:28","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=32498"},"modified":"2022-07-11T09:19:00","modified_gmt":"2022-07-11T07:19:00","slug":"kora-tb140-integrated-amplifier","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/amplifier-reviews\/integrated-amplifier-reviews\/kora-tb140-integrated-amplifier\/","title":{"rendered":"Kora TB140 Integrated Amplifier"},"content":{"rendered":"

Review samples supplied by Dimex<\/a>
\nBenelux retail price including VAT: 4.999 euro<\/h4>\n

When reading that the Kora TB140 is a hybrid tube\/transistor amplifier, no doubt, the idea forms in our collective heads that it must be a combination of a tube preamplifier and a transistor power amplifier but this is not the case. In this case, it concerns a tube power amplifier with a very special twist.<\/p>\n

Like the entire range of Kora amplifiers that are all designed and built in Toulouse, France, the TB140 is centered around a proprietary technique that the company calls SquareTube. This is an operational amplifier section, equipped with 4 triode tubes that are connected directly to the speaker terminals, without transformers. But how can 4 tubes supply enough current to drive loudspeakers properly, let alone be stable into any load, as the maker claims?<\/p>\n

\"\"<\/p>\n

SquareTube<\/h3>\n

The SquareTube arrangement is a result of a long process in R&D led by Bruno Vander Elst, designer for and director of Kora. The arrangement can be seen as an operational amplifier in which two ECC82 tubes and two ECC83 tubes are used in Class-A to make a single amplification stage that outputs a symmetrical voltage signal with respect to the earth reference, while exceptionally linear Motorola power transistors provide an impedance matching function. The symmetrical schematic naturally reduces distortion while the transistor output stage works as a follower, without gain and at very low impedance, which guarantees high operating stability, even in demanding and complex loads. The role of this transistor output stage is somewhat similar to the one generally assigned to the traditional output transformer but with no phase shifts, no bad power coupling in the low-frequency range, and no current limitation. Importantly, in this arrangement, the transistors provide only the required current, without amplifying the signal and as such, this has no influence on the sound of the amplifier.<\/p>\n

The SquareTube circuit is powered by highly-regulated 460 Volts, a supply that normally corresponds to an amplifier of 2500 Watts or more, under 8 Ohms. Of this supply, only 20% is used when the
\namplifier is at its maximum. In other words: the amplifier is always in its comfort zone and never
\noperates near its limits.<\/p>\n

The operating point of the tubes is imposed by a current source on the two ECC83 input triodes into the differential stage and by a reference voltage for the two ECC82 output triodes while the tubes never supply more than 2mA which guarantees a service life of approximately 10.000 hours. The voltage amplification stage provides extremely high gain and drives the transistor Push-Pull transistor stage. Together, Voltage times Power creates the required Watts. This makes it clear that the SquareTube circuit is not a transistor amplifier preceded by tubes, it is a tube amplifier assisted by transistors.<\/p>\n

In this way, Kora achieves the behavior of an OTL (output transformer-less) tube amplifier yet one that remains entirely unfazed by the load, either capacitively or inductively.<\/p>\n

To preserve the capacitors, Kora power supplies are equipped with a circuit that will instill very gently, and for 2 minutes, a slight current in order to permanently maintain a residual voltage at the capacitor\u2019s terminals. Once they are pre-loaded, this current is canceled. The first advantage is that maintained in this way, the lifetime of the components can be counted in decades while maintaining their characteristics. The second advantage is that in the starter mode, the capacitors are close to their operating voltage so that the inrush current will be indeed reduced. A relay only couples the voltage from the tubes to the transistors when all four tubes are temperature-stabilized, a process that is neatly illustrated by a progress bar on the front panel display.<\/p>\n

Tube products are normally sensitive to being switched on\/off\/on in succession. I asked Bruno if this is also the case for the Kora products and if they require a defined off time before being switched on again. Bruno responds:<\/p>\n

There are no particular problems with the number of switch-offs and switch-on. Everything is managed by the microcontroller. Our product is not an enlightened amateur product, but a professional product calculated for a nominal life of 30 years.<\/em><\/p>\n

To avoid sending the speakers a completely useless, even harmful DC current, the output voltage is constantly monitored and held close to zero by a dedicated circuit. This circuit is not involved in the amplification chain and has no effect on the audio signal. In idle, the current consumption of the Kora is very low and the transistors work in Class-A\/B with a quiescent current of approximately 30mA.<\/p>\n

During use, the amplifier never got more than lukewarm, even when I used it with Magico Q5’s to fully test its abilities. In standby mode (with the rear power switch on but the front panel display off except for a red LED), only the microcontroller board is powered which monitors the remote control receiver and any actions on the front panel.<\/p>\n

\"\"<\/p>\n

TB140<\/h3>\n

The TB140 is Kora’s most cost-effective integrated amplifier. It contains the SquareTube operational amplifier as well as an IC-controlled analog preamplifier section. All the line inputs are high-level inputs of the same sensitivity, with an input impedance in excess of 10 kOhms. An MM Phono stage is included which is selected via input 5. As I use MC cartridges exclusively, I did not test this section. Input 4 can be assigned as a Bypass input. I asked Bruno if this bypass mode still passes the input signal through the preamp section (set at unity) or if it bypasses it entirely. Bruno responds:<\/p>\n

In bypass, indeed the gain setting is 1. The SquareTube is complex to set up. There are 13 separate power supplies in the amp. The power on\/off procedure is managed by a microcontroller. This gain part is used in these procedures.<\/em><\/p>\n

\"\"<\/p>\n

The amplifier contains a single multi-function rotary\/push dial that can be used to power on and off, set the volume, select inputs, and access the menu. I’m delighted to report that the operation of this single dial is entirely straightforward. Such is certainly not always the case. In the setup menu, one can adjust the gain offset per input, set the level of the click volume as the rotary dial is used to adjust the volume (very classy!) adjust the display brightness, set the channel balance, and define the amount of information to be shown on the display. Very, very thorough, and very well-executed!<\/p>\n

As a reviewer, I often need to swap cables, and speaker cables, too. As I am well aware of the dangers of using a traditional tube amplifier without a load, I asked designer Bruno Vander Elst if it is safe to leave the TB140 powered on without connected speakers. Bruno responds:<\/p>\n

The SquareTube output stage is extremely stable and it can remain unloaded for life! Tube amplifiers can’t stand being unloaded simply because, without a loudspeaker, the load impedance of the output tube(s) goes up to infinity. And it’s even more dramatic for tetrodes and other pentodes because in this case, a lot of current can flow through the so-called “screen” grids or beam steering barriers.<\/em><\/p>\n

\"\"<\/p>\n

Break-in and Warm-up<\/h3>\n

The unit was delivered to me with approx 100 hours of use and assumed run-in. The amplifier sounds hugely impressive even right from the first second it is switched on but the sound gains noticeably more fluidity, bloom, and tonal saturation after having played for 30-60 minutes. I found that it reached its ideal presentation after about two hours of playing, at which point its harmonic richness and warmth, soundstage depth, and organic flow are fully developed and remain stable.<\/p>\n

I asked designer Bruno if this conforms with his experience. Bruno replies:<\/p>\n

Indeed, the amplifier needs to rise slightly in temperature to find its equilibrium point. The quiescent current of the power transistors is established after 30 to 60 minutes. But you can also run it at a high level for a few minutes to get it to warm up a little faster! Apart from that, the amps don’t need a break-in. They have already worked here before shipping.<\/em><\/p>\n

\"\"<\/p>\n

Review Context<\/h3>\n

The main system<\/a> used for this review consists of the CH Precision C1<\/a> DAC and normally the CH Precision A1.5<\/a> power amp with Grimm MU1<\/a>,\u00a0Antipodes K50<\/a>, and Taiko Audio Extreme Music Servers and Magico S1 MkII speakers. More details can be found on the Main System<\/a> page. For speaker cables, I used the Mad Scientist Black Magic<\/a>, the Jorma Trinity<\/a>, and the Driade Flow 405<\/a>. Additionally, I used the Kora amp with Driade Premium Model 2S<\/a> speakers.<\/p>\n

The secondary system consists primarily of the Ayon CD-10 II<\/a> CD player and normally the Ayon Spirit III<\/a> integrated amplifier (5.890 euro) and Xavian Perla Esclusiva<\/a> speakers. Here, I used the same Driade Flow 405 as well as the FoilFlex<\/a> speaker cables, and Driade Flow Link Reference 808<\/a> interlinks.<\/p>\n

Additional listening was done in two friends’ systems. In the first system, I used the Kora TB140 with Magico Q5 and Master CC loudspeakers, and in the second system, it was used with Master CC’s exclusively.<\/p>\n

Next: Listening<\/p>\n

<\/p>\n

Listening<\/h3>\n

So, how does the Kora amplifier sound? Rather fantastic! Truly, I was not ready to hear this level of performance from a 5000-euro amplifier. I tried the Kora in both of my systems and with a wide range of cables and no matter the pairing, the Kora is consistently impressive.<\/p>\n

\"\"<\/p>\n

Contrary to what one might expect from a hybrid tube amplifier, the TB140 does not sound creamy, fat, overly smooth, or rose-tinted, but rather extremely quick and articulate, super-expressive, and ultra-linear and transparent. Surely the amp’s unique SquareTube concept is debit to this, but its pure and direct sound is no doubt in part also a consequence of the absence of output transformers which in most cases where they are used are responsible for that typically “phat” tube sound.<\/p>\n

\"\"<\/p>\n

The best way to illustrate this is to go back to the Ayon in my secondary setup after having listened to the Kora. The Ayon Spirit III is a KT-150 push-pull tube amplifier and it has that Ayon-typical full, sonorous, dark, and robust sound. It does have good bass solidity and slam and it also has a more colorful midrange while it largely avoids rounding or adding too much creaminess or smear. One could argue that the Ayon instills a friendlier, warmer, perhaps more romantic feel that is easier on the ear and I will not disagree. However, I will counter that the Ayon can’t touch the Kora in terms of bass performance, speed, expression, resolution, and lightning-fast transients. I’ve always known that the Ayon is not a master of resolution and refinement but in this comparison, this becomes really quite blatantly obvious. You’d expect a pure tube amp to be more liquid but also in that important parameter, I can’t say that the Ayon outperforms the Kora. Yes, the Ayon sounds fuller, more relaxed, and more deeply saturated, but I’m on the fence as to whether I prefer that over the open window that the Kora provides.<\/p>\n

\"\"<\/p>\n

Based on personal preferences, I can imagine a certain listener bias or expectation. Indeed, the Kora does not sound like a stereotypical tube amplifier. Nevertheless, it is audible that amplification is done with tubes, not because it has the expected coloration or rounding but because it does not sound like a stereotypical transistor amplifier. The Kora is remarkably pure, direct, and expressive, but it absolutely does not have the mechanical quality, harshness, or metallic edge that plague many transistor designs.<\/p>\n

\"\"<\/p>\n

In terms of soundstaging, the Kora has a wide presentation, perhaps even wider than the Ayon. Its depth rendering is a little flat after switch-on but becomes noticeably deeper after 30-60 minutes. And after about two hours, the Kora also has the kind of free-flowing deep staging that you kind of expect from a tube amp.<\/p>\n

\"\"<\/p>\n

I pulled out a favorite amp for further comparison in this setup: the NuPrime AMG-STA<\/a> power amplifier that is unusually fluid and refined for a Class-D design and at 1850 euro very affordable. Since it is only a power amplifier, I connected it directly to the Ayon CD-10 II<\/a> CD player and used the latter’s built-in digital volume control. Having used the CD-10 in the configuration many times before and knowing that it normally results in an even more direct sound than when used with a preamp, I was puzzled to find that this time, the results were not what I had in mind.<\/p>\n

Strangely, although the little NuPrime amp always performs beautifully in the main system where it still makes a great pairing with the Magicos, in the secondary system with the Xavians, the AMG-STA has a comparably linear and transparent delivery but the incredibly articulate and explicit Kora amp now makes it also sound a little tame and restrained.\u00a0Especially in the areas of bass incisiveness, articulation, and expression in de midrange, the Kora now makes the AMG-STA sound like it is holding back.<\/p>\n

Weirdly, the AMG-STA, a solid-state Class-D design, sounds smoother and more fluid than the Kora, a hybrid tube\/transistor design. I must say really do love such surprises! Of course, the AMG-STA is sort of a hybrid Class-A\/Class-D design, and the Kora is not a pure tube design, but still, these are interesting results that prove that it is unwise to be stigmatic about amplification principles.<\/p>\n

\"\"<\/p>\n

Photo loaned from hifi.nl<\/a><\/em><\/p>\n

Higher-tier Kora products come with a very nice proprietary metal unit but the TB140 comes with a regular plastic remote control. Bruno responds:<\/p>\n

We have decided once and for all: we prefer to put the maximum amount of money into the amplifier that we listen to, and this to the detriment of the remote control, which nobody listens to. At least, I hope so! In the future, we will develop this point. I<\/em>n designing the TB 140, our wish was to stay as close as possible to the qualities of the superior models while reducing the price. I think we succeeded. And if by any chance an audiophile wants a more valuable remote control he can order it for a small extra charge. The metal remote control is being sold at cost price.<\/em><\/p>\n

So how does the Kora compare to the state-of-the-art CH components? To my astonishment, in a direct comparison, the TB140 turns in a performance that, on balance, is closer to that of my reference system than I had anticipated. For starters, the Kora manages to produce even tighter and more articulate bass, with even more immediate transient behavior which makes it even more expressive than the Swiss combo. Its treble is highly refined yet with the same amount of control and snap as it has in the bass while the midrange again has the same qualities, being pure and direct yet also delicate. This is very good news as it illustrates the amplifier’s consistent and coherent behavior throughout the frequency range. Finally, on the surface, even the overall level of detail, while of a whiter shade, seems comparable to that of the CH combo.<\/p>\n

CH Precision has a reputation for being ultra-clean, according to some even to the point of being overly cool or gray, but in my listening environment, I don’t find this to be the case. In any event, the CH combo actually sounds fuller, smoother, and warmer than the Kora. Unlike the Ayon, the CH components are solid-state designs. But of the amplifiers that I compared it to so far, apparently, the Kora has more in common with state-of-the-art transistor amplification than with stereotypical tube amplification. How about that? At 12 times the cost, the CH L1 + A1.5 combo does still pull ahead in areas such as bass weight and authority, tonal saturation, low-level resolution and decay, and perhaps surprisingly, continuousness. But nevertheless, it’s quite amazing that the Kora could come this close.<\/p>\n

To put things into perspective, the Kora is indeed more articulate and direct than the CH combo, but its color rendition is more opaque and the overall delivery less liquid. For all its incisiveness and enthusiasm, and when partnered with very accurate speakers, the Kora has such an astute delivery that at times it comes across as verging to staccato. It is this very astute delivery that might divide opinions. This quality also has the effect of creating what I will call a super black background. While this is often considered to be a good quality, the way that I hear it, too much black can lead to the perception of there being black holes in-between the notes, with the natural decay being shortened a bit. The opposite of this effect would be what I call continuousness. This is what is often expected as one of the strong points of tube amplification and which is usually a side-effect of the output transformers, that is delivered along with the usual downsides. With the Kora, there is simply no smear whatsoever and that is not only refreshing, but it can actually spoil a person for other designs.<\/p>\n

\"\"<\/p>\n

Apart from producing absolutely fantastically precise bass, an arguably more important upside of the Kora’s clean and astute delivery is that it also has a fabulously pure midrange with no added bloom, which strongly reminds me of the best Single Ended Tube amplifiers that I have reviewed in the past, such as those made by Ayon, Line Magnetic, and Melody. Like with these SET amps, the Kora has this amazing ability to portray vocals so crisp and direct, and with such low coloration and artifice, while imbuing them with a quality that I can only describe as human, that it culminates into a highly realistic performance. The big difference, of course, is that the SET amps struggle to produce decent bass even with efficient speakers while the Kora will happily drive any speaker out there.<\/p>\n

\"\"<\/p>\n

Due to the way that the heatsink and speaker terminals are arranged, stiff cables with spades can only be connected in a highly visible manner as seen above. Bruno responds:<\/p>\n

The available surface on the rear panel is small, and a bit constrained by the layout of the various components in the unit. The holes in the body of the socket are deliberately angled at 45 degrees.<\/em>
\nOne can imagine anything in terms of layout, but there comes a point in the design process when a decision has to be made with all the requirements in mind!<\/em><\/p>\n

\"\"<\/p>\n

Above the RCA input connectors, there is a cutout covered by a metal plate. I wondered, does Kora have options planned? Bruno explains:<\/p>\n

At first, we thought of adding a digital input. This will be for the 2023 versions, with a little surprise, I hope. It’s too early to tell.<\/em><\/p>\n

Next: speaker cables and two other review systems<\/p>\n

<\/p>\n

Speaker Cables<\/h3>\n

This brings me to an important thing to keep in mind which is that the Kora does not do any editorializing of the signal, it does not add warmth and it certainly does not add a nice sauce to cover any flaws upstream. While it always performs its traits no matter the cables or speakers, if one is to find the ideal balance between warmth\/smoothness and purity\/directness, then the choice of cabling becomes important.<\/p>\n

In the main system, I use Mad Scientist Black Magic<\/a> speaker cables which have proven pivotal in making the CH components sound maximally incisive and expressive. With the Kora, however, the pairing with this cable results in a dry and matter-of-fact kind of presentation. What works really well is the Driade Flow 405<\/a>. This cable’s inherently smooth and liquid characteristics add all the liquidity, continuity, and finesse that one could desire to pull the Kora’s delivery over to the other side, toward more romantic while retaining most of the amp’s impressive abilities. What also works really well are the Jorma Trinity<\/a> speaker cables that add fluidity and flow similar to the Driade’s but with faster pacing and higher resolution, to arrive at a rather neutral, but also natural<\/em> sound with just the right amount of fluidity and finesse.<\/p>\n

70 Watts per channel might not seem like much but it’s all that I needed to drive any speaker louder than I needed to. I should also note that, unless you want to play at PA levels, it’s not so much the power output that matters, but the stability of the power supply. After all, the CH A1.5 is also “only” rated at 150 Watts, far less than its appearance might suggest. Its true power is in its massive power supply that, according to the front-panel meter, is capable of outputting 800 Watts and even more, if you play loudly or connect difficult speakers. The same is true for the Kora TB140.<\/p>\n

\"\"<\/p>\n

With Magico Q5<\/h3>\n

To truly test the Kora’s power capacity, I brought the amplifier with me to my friend Niels who uses Magico Q5 speakers with a Soulution 711. The Q5s are absolutely notorious for being hard to drive, almost to the level of the Apogee Scintilla. Most tube amplifiers do not apply, not even the Zanden 6000, but lo and behold: the Kora TB140 not only extracts ridiculous amounts of detail with lightning-fast transients and superb bass performance from the Q5s, but it also controls them as if they were mini-monitors. Sure, the Kora does not sound as authoritative and beefy as the 55K Soulution 711 or the leaner 31K CH Precision A1.5 for that matter, but it sounds solid and always in control, even when you crank the volume to levels that I personally find uncomfortably loud. Interestingly, the Kora’s precision worked very nicely with the Q5’s inherent precision to achieve a sound that certainly verged to the analytical side but at the same was not devoid in terms of warmth and provided a fascinating level of insight as well as emotional involvement. Niels’ room is far smaller than mine, has wall-to-wall carpet, and is far more damped, and Niels also uses warmer-sounding cables, and clearly, this goes a long way toward bedding in the Kora amplifier such that its strengths are fully realized whilst avoiding it to start sounding too cool or too controlled.<\/p>\n

\"\"<\/p>\n

I was so eager to start listening that I forgot to take a picture of the setup with the Q5’s at the time of the Kora test. Here<\/em>‘s a picture of the system with Magico Q3’s that is actually very close to the current situation.<\/em><\/p>\n

Niels also owns Master Contemporary C speakers that he normally uses with a Zanden 6000 integrated amplifier (23.650 euro). When we swapped to the Kora, using the same Essential Audio Tools (EAT) power cable, we were again surprised at the level of precision and expression that the Kora manages to deliver. However, we also had to admit that the Zanden provided deeper tonal saturation and created a considerably deeper soundstage with considerably more liquidity and continuousness. Such a difference is not unexpected given the price difference, of course. But to our surprise, the Kora pulled ahead in several other areas such as bass control, speed, transient crispness, openness, and airiness. This made Niels and me seriously question\u00a0which amp we actually preferred, which is saying a lot for the Kora.<\/p>\n

\"\"<\/p>\n

One week later, I brought the Kora with me to visit my friend Werner. In his very carefully tuned system, we started with the same EAT power cable as he normally uses for the Zanden amplifier but contrary to Niels’s system, this made the Kora sound somewhat shut-in compared to the Zanden. Changing the EAT for a Belden 19364 with Bals Schuko and Oyaide C-004 restored the Kora’s balance as I heard it before: open, linear, and very neutral. This way, the TB140 again drove the Master CC’s rather better than one would expect from a 5.000 euro amplifier. But in this system, the difference between the Kora and the Zanden was rather larger than in Niels’s system, and more in favor of the Zanden. Here, the Kora’s bass precision and articulation, as well as its admirable linearity were again evident, but this time, the dynamic contrast and the level of expression were not better with the Kora, rather, in spite of having been switched on for 2 hours, the amp sounded a little flatter and more static.<\/p>\n

But sure enough, the longer we played, the more organic the sound became and the more the music started breathing freely. This is when I realized that the amplifier not only needs warming up, but it also needs to be playing for some time to sound its best.<\/p>\n

\"\"<\/p>\n

Indeed, the longer we listened with the Kora, the more we forgot about it, which for an amplifier is a really big compliment! We even proceeded to test some other equipment unrelated to this review and were never under the impression of being limited in terms of resolution, neutrality, or transparency. Just as heard before, one of the amplifier’s core strengths is that it sounds very much of one piece, entirely coherent and uniform. Again, the bass was exemplary while vocals, in particular, were also impressively pure and realistic, something that Werner also noted.<\/p>\n

In this system, the Kora did not outperform the Zanden in any parameter but this does not diminish the designer’s accomplishment in any way. What this last experiment did prove is that two identical amplifiers (the Zanden 6000) can sound rather different. This is something that Werner had been telling us all along but it wasn’t until these last two comparisons with the same speakers and with the same Kora amplifier, that I heard it for myself. In speaking with Niels and Werner about this, we think there are differences in the precision of tube matching and -quality, as well as in the amount of bias. This is something to investigate further but has no bearing on this review.<\/p>\n

More to the point is the notion that the TB140 needs no user intervention for manual biasing and not even in terms of tube matching. Rene Degens of Dimex told me that he was ensured that the brand and quality of tubes that are used are inconsequential to the amplifier’s sound quality. Rene proceeded to test this by inserting a different brand of tubes only to conclude that he did indeed not hear a difference. Just precisely how the SquareTube principle achieves this is not entirely clear but designer Bruno Vander Elst explains it such that the tubes are forced to work within certain restraints that are always well within their comfort zone.<\/p>\n

Conclusion<\/h2>\n

The Kora TB140 is one of those rare products that truly surprise and I absolutely love it when that happens. It sounds nothing like a stereotypical tube amplifier because it has none of the added warmth, thickness, slowness, or blur that often come along with such designs. But neither does it sound like a traditional transistor amplifier because it has none of the typical solid-state edge or hardness. It strikes a careful balance between tightness, control, linearity, and expression on the one hand, and refinement, fluidity, and air on the other. Meanwhile, the amp has SET-like purity, quite bizarrely combined with amazing bass control, while driving any speaker, even Magico Q5’s. If one prizes neutrality as highly as I do and one does not mind an all-veils-removed, window-wide-open, perhaps slightly analytical presentation, then the Kora TB140 comes highly recommended. But above all, at its price level, I know of no better amplifier, certainly not one that drives every speaker on the market.<\/p>\n

\"\"<\/p>\n

Associated Equipment<\/a><\/p>\n

External Links<\/h3>\n

Manufacturer: Kora.fr<\/a>
\nDistributor for the Benelux: Dimex.nl<\/a><\/p>\n

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