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The Pacific Amp 211 Monoblock was created on the base of our regular 211's but with a no compromise and no cost restrictions, to match the glory of our own Pacific DAC . These amps are a true flagship. They are True Balanced designs.

By "True Balanced" we mean having a real two-phase circuit (dual mono internally) rather than a signal transformer.
Since having two GM70 triodes on one chassis is not practical, because everything runs just too hot, we opted for the much colder running 211 triodes from USA. They are famous for being used in many great Audio Note Japan and Kondo amps, like Ongaku and Ga Kuon to name just two. These are great tubes - powerful, musical, robust and easy to get. China makes at least 10 different clones and all very good as well. What sets the pacific Amps apart is the use of galvanically coupled driver stage with negatively powered 300B triodes as drivers. This seems to be the neatest amplifier scheme we can imagine.

This monoblock amplifier has follwing key features:

  • Only XLR inputs from balanced sources

  • stepped ladder discrete resistor input volume control

  • tube rectifier for small tube section

  • Manual bias with the needle meter

  • high quality output transformer from Ogonowski, made of very fine German steel

  • High quality power transformers from Toroidy, encapsulated, shelded and potted

  • 600Watts power supply section

  • 220 W per channel idle consumption

  • 40Watts power into 8 Ohms

  • Besides the 8 - 4 or 16 Ohm taps available by request

  • compatibility with slightly differently heated KR Audio 211 tubes

  • point to point wiring

due to big changes in the amplifier department we suspend accepting any orders until further notice which is probably 2024. We will come back with our power amps stronger than ever.


I’ve been fortunate to listen to many excellent sounding tube amplifiers and to my ears the 211 is as impressive as anything else I've experienced in my space. The voices and instruments sounded very tangible, with high level of timbre purity. Music of all kinds flowed with effortless liquidity. It was full and warmhearted and, at the same time, convincing by virtue of its dynamic authority, resolution, and superb integration.

The midrange was exceptionally open, revealing, and colorful. The treble was very extended, reproduced cleanly and with an airy high-frequency extension, which was delicately sweet. With this strong inner purity, it conveyed music with liveliness and speed, but with no hardness or compression. It sounded rich and sweet, with no attendant loss of speed or sparkle in the treble.

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