Advance Paris A8 Apex 30th Anniversary
Integrated Amplifier [ Review in English ].
The smallest integrated amplifier in Advance Paris’s anniversary series is not merely an aesthetic evolution, but rather a very accurate representation of the French manufacturer’s philosophy regarding the concept of a “Hi-Fi integrated amplifier.” From experience, we know that when Advance speaks, it is worth listening carefully.
Thirty years is no small achievement. Advance Paris (known at its beginnings as Advance Acoustic) is one of the first European manufacturers of the new generation, where the stages of design and development are separated from manufacturing, which is usually outsourced to third parties in order to keep costs under control. That being said, the 30th anniversary is a good opportunity for a new product series, and the Apex 30th Anniversary is exactly that.
The Apex series currently includes four devices: three integrated amplifiers and one CD player. Among the amplifiers, two are special editions of the well-known Classic A10 and Classic A12 models, while the one we are reviewing here, the A8 Apex, is a new, medium-power design.
Perhaps the most obvious feature of the Apex series is its new aesthetic. The chassis and front panel are clearly more refined in their detailing and differ significantly from the corresponding elements of the Classic series, with the signal level meters being more subdued and the user interface (controls and display) conveying a sense of calm and simplicity—possibly due to the choice of color.
The A8 Apex 30th Anniversary, as its full name is, is an amplifier delivering 2×75W/8Ω and 2×110W/4Ω from a Class AB solid-state power stage. Here, Advance continues its tradition by giving the user the ability to select, via a rear-panel switch, the bias current in two levels, thereby indirectly controlling the amount of power delivered at low listening levels, as the output stage operates in Class A. In the Normal setting, the Class A output power is 5W, while in the High setting it is 10W. This is an interesting feature, especially for those who listen at low volumes. Tradition is also maintained in another respect: the A8 has a hybrid architecture, using a tube stage (ECC81/12AT7 double triodes) in the preamplifier section, subtly nodding to those who want something more inspired rather than just a purely “functional” amplifier in their rack.
However, do not imagine anything simplistic: the amplifier also features a full signal processor, with tone control and channel balance adjustment, as well as a dynamic loudness compensation filter that becomes more pronounced at low listening levels and disengages at higher volumes. All of these functions can, of course, be disabled and bypassed via the device’s menu, which is displayed on a screen that remains easily readable even from a distance. If desired, the user can access and control them via the full-featured remote control supplied with the unit.
The connectivity options offered by the A8 are comprehensive, and users will find it difficult to miss anything: there are seven line-level inputs, a moving magnet (MM) phono input, an HDMI/eARC port for connection to a television, as well as a full set of digital inputs including optical, two coaxial inputs, and a USB-B port for streaming from a computer. The output section is equally complete: here you will find a subwoofer output (with a fixed 200Hz 12dB/oct low-pass filter), pre-out, record output, and a front-panel headphone output. The user can also use the power amplifier section via a dedicated input, allowing the A8 to be integrated into a home theater system. If we were to be slightly critical, we would ask for support for moving coil (MC) cartridges and at least one balanced (XLR) input. In compensation, however, we consider the option of using Advance’s A-BTC module a positive feature, which enables ad-hoc Bluetooth streaming functionality.
The amplifier is very user-friendly and easy to operate. Its menu is well designed and has an intuitive flow, the
feel of the rotary encoder is positive, as is the experience of using the remote control. The front panel is dominated by the level meters (calibrated in W/8Ω and dB, and adjustable in terms of brightness), while the preamplifier tubes are also clearly visible through a transparent window, making the A8 quite visually striking.
For listening tests, the amplifier replaced the reference amplifiers (Melos Plus Series Line / Parasound HCA3500) and was tasked with driving the reference loudspeakers (ATC SCM-50PSL). I used both the analog line-level inputs and the USB-B port for computer-based streaming, while—briefly—I also listened to the phono stage using a Clearaudio Compass with the N1 moving magnet cartridge.
Listening impressions…
The first impression you get when listening to the A8 is that you are dealing with an amplifier of higher power than its specifications suggest. In a small to medium-sized room, and with reference loudspeakers not known for their high sensitivity, the amplifier had no trouble at all, easily producing high sound pressure levels without ever appearing strained or close to its limits. In a small room with reasonably sensitive speakers, you simply won’t need anything more.
To this you should add the system’s tonal balance, which remained undisturbed and was characterised by good extension at both frequency extremes and a midrange that sits in exactly the right place, never becoming recessed or compressed. The result clearly suggests that Advance Paris has deliberately chosen not to impose a “valve-like” character on the amplifier—perhaps only a subtle signature, perceptible as a relaxed, slightly laid-back presentation that makes the system sound effortless, with absolutely no trace of harshness.
In the very low frequencies, the system proved fully capable of handling the lowest octave of the frequency spectrum, with good weight, strong transient definition and control. The room filled easily, and the presentation was, at times, impressive without any hint of compression or hesitation from the amplifier. Bass is reproduced correctly, with appropriate fullness and proper rhythmic drive that genuinely pulls you into the music.
The upper bass and midrange were well balanced and highly detailed, with serious layering capabilities. Voices,
choirs and large orchestral recordings are strongly present, with clear group definition, movement and a convincing sense of air. Large-scale material sounded genuinely large—an achievement that is particularly impressive from a 2×75W integrated amplifier, and it suggests that Advance Paris has provided substantial dynamic headroom.
Stereo imaging is one of the amplifier’s strongest assets. The soundstage has clearly defined boundaries and excellent depth, while acoustic objects are positioned with remarkable stability. In large ensemble recordings, instrumental groups are clearly delineated, and in smaller orchestral works the sense of air and spatial realism reaches a very high level. The A8 is among the better integrated amplifiers we have heard in this respect.
The treble region is extended and fast, with good articulation. It is bright, full and at the same time easy on the ear—never becoming harsh or fatiguing, while still retaining detail. One could attribute this to the tube stage; perhaps so. If that is indeed the case, then the French designers clearly know how to balance their chosen ingredients: the A8 does not flatter the source material, nor does it impose an artificial character.
Speaking of character, the user can experiment with the tone controls and, most notably, the loudness function— a somewhat forgotten feature that is far more than a gimmick. It directly compensates for the phenomenon described by the Fletcher–Munson curves, and in my view it should be present in every preamplifier. In situations where low-level listening is common, the amplifier is fully equipped: engage loudness, select the higher bias setting for more Class A headroom (you rarely need more than 10W when listening quietly), and the amplifier is ready to perform.
Speaking of character, the user can experiment with tone controls and especially the loudness function (a somewhat forgotten convenience, which nevertheless is not just a gimmick but a compensation for the Fletcher-Munson curves, and in the reviewer’s opinion should be present in all preamplifiers). In environments where low-level listening is often necessary, the amplifier is fully equipped: enable loudness, select high bias for more Class A power (certainly no more than 10W is needed at low listening levels), and the amplifier is ready for the task.
Finally, the phono stage also performed well: low noise and, to all appearances, a tonal neutrality resulting from well-implemented equalisation provided a solid foundation for vinyl playback, delivering exactly the kind of “analogue” feel one would hope for.
In summary, the A8 Apex 30th Anniversary is not a surprise. This is exactly what one would expect from Advance Paris, which has quietly become one of the most important manufacturers of affordable high-quality audio equipment. A consistent yet inspired design, high-quality sound with a touch of relaxed character, strong driving capabilities, and a fully comprehensive feature set. We expected it, and that is exactly what we found in practice. Highly recommended.
Advance Paris A8 Apex 30th Anniversary Integrated Amplifier Price: €1.990,-
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