Ambient Acoustics is not a newcomer in the field of IEMs, but has been on the market since 2010. The company philosophy, which is expressed in the slogan "Hear your individuality", emphasizes the unique sound perception of each person. Early on, Ambient Acoustics developed a distinctive sound signature with its innovative IEMs, including models with up to four armature drivers
In 2013, the company pioneered phase impedance correction in IEMs, minimizing the impact of sound sources on headphone performance - a practice now common among many manufacturers see 64 Audio and Custom Art. In 2017, Ambient Acoustics had modernized its production process using advanced digital technologies such as 3D modeling and printing. In 2018, the company introduced the MAD (Main Audio Destination) concept, which relies on acoustic methods rather than traditional electrical filters to shape the sound. This concept led to the development of the MAD 24, the world's first IEM with 24 drivers without electrical crossovers, representing the pinnacle of innovation. What can't be done without a crossover network? Yes, and how!
A unique approach is used in the development of IEMs with multiple drivers to solve phase matching problems. This includes the design of the holes and the Ambient Acoustics Acoustic Notch Filter (ANOR). These specially developed filters act like an electrical filter. Ambient Acoustics calls this complete structure and the printing of an IEM shell SIS (Sound Imprint Shell). The shell is formed together with the structure of acoustic holes of various shapes and diameters, Helmholtz resonators, the acoustic filters to form a unit that ultimately reflects the end result of the MAD 24. The MAD 24 has 4 BA drivers for the lows and mids, 8 BA drivers for the mids, 8 BA drivers for the upper mids and 4 BA drivers for the highs and ultra-highs.
What impresses me is the rather small size of the MAD 24. At first I thought 24 drivers in a cabinet must end up being huge, right? For comparison, an EE Raven has a significantly larger shell than the MAD 24. The elimination of the crossover network and the clever division within the shell makes for an ergonomically well-shaped IEM that is comfortable to wear.
The scope of delivery includes an elegant round leather box, a high-quality copper cable with a 4.4 mm plug, a cleaning brush and cloth, instructions and AZLA Xelastec in three different sizes. The latter go very well with the MAD 24 in terms of sound and comfort. However, I personally prefer the SpiralDots, which I find even more comfortable. The design of the MAD 24 can be chosen from a set of ready-made faceplates or you can upload your own logos and textures. My test model is the standard version with bright purple colors. It looks great and is very robust. The 2-pin sockets are bombproof. You have to pull and push a little harder to change the cable. But don't worry, the housings are very sturdy and there is no risk of breakage as with the first revisions of the EE Raven, for example. If you like it even more special, you can also order a custom version of the MAD24.
For the sound test, I use my two DAPs, the iBasso DX320 MAX Ti and the FiiO M15s. With its low impedance of only 2.3 ohms, you would think that the MAD24 is easy to drive. I still have to go up 1-2 volume settings compared to an APX SE. But of course, it's still loud enough at the lowest gain level with both DAPs. I became aware of this model a long time ago, partly because of the good test reports, but somehow I only took the opportunity to test it now. And it was worth it. If the APX SE hadn't arrived recently to take my rankings by storm, this MAD 24 would be my new neutral reference with no ifs and buts! In my opinion, this masterpiece from the Ukraine performs better than a U12t and also better than a FIBAE 7U for 3200 USD. But first things first.
The MAD 24 is neutrally tuned with a hint of a warmer, fuller sound. It is roughly a mixture of the speed and clarity of a FIBAE 7U paired with the fuller mids and the slightly stronger bass range of a Cadenza 12. Technically, it outshines both for me and conjures up a performance that is so coherent and harmonious that you think you are listening to a single driver. But there are a whopping 24! Perhaps the avoidance of crossover networks is the final result here. All transitions are absolutely smooth, from the bass to the mids and then to the treble. The cleanliness and the high speed that the BA drivers achieve here consequently lead to a very holographic stage image in which every sound element is sharply outlined and can be easily located. Added to this is the fact that the stage size itself is absolutely expansive in all directions. Here it even beats my reference, the APX SE, although the MAD 24 doesn't quite reach the sharpness of the APX SE, which is currently the measure of all things in the IEM market. All too often I find myself literally sinking into the sound of the MAD 24. It really invites you to listen for hours and you feel like you're in a mini concert hall. The air it creates between the elements is somewhat reminiscent of the Multiverse Mentor. Tonality and stage are two of the outstanding features of the MAD 24.
What about the bass range? Can you hear the BA timbre? Of course, a BA bass is not a DD bass. And it never will be. But the level of detail and speed, when implemented correctly, is fabulous and the MAD 24 is no exception. It easily performs at Multiverse Mentor and AME Custom Raven level. It has a decent amount of thrust and can slam very hard when the recording requires it. As a self-confessed metal fan, I am thrilled by this high-quality and quantitatively more than sufficient quantity. Of course, it doesn't quite reach the slam of an APX SE or Fourte Blanc, but it beats them both in terms of even faster bass response and is on a par in terms of quality.
The mid-range reproduction is by no means neutrally boring, but with its minimal warmth and tone colors it radiates a full and smooth sound image at all times. Each instrument is clearly outlined thanks to the sharp edges. Individual nuances of voices are reproduced clearly, distinctly and with very high resolution.
The highs continue at the same high level. In terms of imaging, no detail is left out with this edge sharpness and it still manages to remain harsh-free at all times. Even with the AZLA Clears, the ultra-fine treble never reaches unstable realms. However, I prefer the included AZLA Xelastec, which give the mids even more beautiful timbres, or the SpiralDots, which work in a similar direction and conjure up the even more powerful slam from the MAD 24.
For me, the DX320 MAX Ti with its reference tuning is a terrific combination with the MAD 24. The stage presentation gains in size and separation and is superior to the presentation via the FiiO M15s. The latter is also more technical in the mid-range than the iBasso flagship, which counters with the nicer and somewhat fuller sound colors.
For a price of 3200 USD, the MAD 24 is certainly no bargain, but for me it clearly has an endgame character in the sum of its characteristics. A pure BA IEM with this technically brilliant presentation and such a balanced and well-balanced tuning is rare to find. There is the U12t or a FIBAE 7U. Both are considerably cheaper than the MAD 24, but do not achieve the level of presentation, especially the holographic stage imaging and instrument separation of the MAD 24. As always, everyone has to decide for themselves whether the price is worth it.
In 2013, the company pioneered phase impedance correction in IEMs, minimizing the impact of sound sources on headphone performance - a practice now common among many manufacturers see 64 Audio and Custom Art. In 2017, Ambient Acoustics had modernized its production process using advanced digital technologies such as 3D modeling and printing. In 2018, the company introduced the MAD (Main Audio Destination) concept, which relies on acoustic methods rather than traditional electrical filters to shape the sound. This concept led to the development of the MAD 24, the world's first IEM with 24 drivers without electrical crossovers, representing the pinnacle of innovation. What can't be done without a crossover network? Yes, and how!



A unique approach is used in the development of IEMs with multiple drivers to solve phase matching problems. This includes the design of the holes and the Ambient Acoustics Acoustic Notch Filter (ANOR). These specially developed filters act like an electrical filter. Ambient Acoustics calls this complete structure and the printing of an IEM shell SIS (Sound Imprint Shell). The shell is formed together with the structure of acoustic holes of various shapes and diameters, Helmholtz resonators, the acoustic filters to form a unit that ultimately reflects the end result of the MAD 24. The MAD 24 has 4 BA drivers for the lows and mids, 8 BA drivers for the mids, 8 BA drivers for the upper mids and 4 BA drivers for the highs and ultra-highs.
What impresses me is the rather small size of the MAD 24. At first I thought 24 drivers in a cabinet must end up being huge, right? For comparison, an EE Raven has a significantly larger shell than the MAD 24. The elimination of the crossover network and the clever division within the shell makes for an ergonomically well-shaped IEM that is comfortable to wear.
The scope of delivery includes an elegant round leather box, a high-quality copper cable with a 4.4 mm plug, a cleaning brush and cloth, instructions and AZLA Xelastec in three different sizes. The latter go very well with the MAD 24 in terms of sound and comfort. However, I personally prefer the SpiralDots, which I find even more comfortable. The design of the MAD 24 can be chosen from a set of ready-made faceplates or you can upload your own logos and textures. My test model is the standard version with bright purple colors. It looks great and is very robust. The 2-pin sockets are bombproof. You have to pull and push a little harder to change the cable. But don't worry, the housings are very sturdy and there is no risk of breakage as with the first revisions of the EE Raven, for example. If you like it even more special, you can also order a custom version of the MAD24.
For the sound test, I use my two DAPs, the iBasso DX320 MAX Ti and the FiiO M15s. With its low impedance of only 2.3 ohms, you would think that the MAD24 is easy to drive. I still have to go up 1-2 volume settings compared to an APX SE. But of course, it's still loud enough at the lowest gain level with both DAPs. I became aware of this model a long time ago, partly because of the good test reports, but somehow I only took the opportunity to test it now. And it was worth it. If the APX SE hadn't arrived recently to take my rankings by storm, this MAD 24 would be my new neutral reference with no ifs and buts! In my opinion, this masterpiece from the Ukraine performs better than a U12t and also better than a FIBAE 7U for 3200 USD. But first things first.


The MAD 24 is neutrally tuned with a hint of a warmer, fuller sound. It is roughly a mixture of the speed and clarity of a FIBAE 7U paired with the fuller mids and the slightly stronger bass range of a Cadenza 12. Technically, it outshines both for me and conjures up a performance that is so coherent and harmonious that you think you are listening to a single driver. But there are a whopping 24! Perhaps the avoidance of crossover networks is the final result here. All transitions are absolutely smooth, from the bass to the mids and then to the treble. The cleanliness and the high speed that the BA drivers achieve here consequently lead to a very holographic stage image in which every sound element is sharply outlined and can be easily located. Added to this is the fact that the stage size itself is absolutely expansive in all directions. Here it even beats my reference, the APX SE, although the MAD 24 doesn't quite reach the sharpness of the APX SE, which is currently the measure of all things in the IEM market. All too often I find myself literally sinking into the sound of the MAD 24. It really invites you to listen for hours and you feel like you're in a mini concert hall. The air it creates between the elements is somewhat reminiscent of the Multiverse Mentor. Tonality and stage are two of the outstanding features of the MAD 24.
What about the bass range? Can you hear the BA timbre? Of course, a BA bass is not a DD bass. And it never will be. But the level of detail and speed, when implemented correctly, is fabulous and the MAD 24 is no exception. It easily performs at Multiverse Mentor and AME Custom Raven level. It has a decent amount of thrust and can slam very hard when the recording requires it. As a self-confessed metal fan, I am thrilled by this high-quality and quantitatively more than sufficient quantity. Of course, it doesn't quite reach the slam of an APX SE or Fourte Blanc, but it beats them both in terms of even faster bass response and is on a par in terms of quality.
The mid-range reproduction is by no means neutrally boring, but with its minimal warmth and tone colors it radiates a full and smooth sound image at all times. Each instrument is clearly outlined thanks to the sharp edges. Individual nuances of voices are reproduced clearly, distinctly and with very high resolution.
The highs continue at the same high level. In terms of imaging, no detail is left out with this edge sharpness and it still manages to remain harsh-free at all times. Even with the AZLA Clears, the ultra-fine treble never reaches unstable realms. However, I prefer the included AZLA Xelastec, which give the mids even more beautiful timbres, or the SpiralDots, which work in a similar direction and conjure up the even more powerful slam from the MAD 24.
For me, the DX320 MAX Ti with its reference tuning is a terrific combination with the MAD 24. The stage presentation gains in size and separation and is superior to the presentation via the FiiO M15s. The latter is also more technical in the mid-range than the iBasso flagship, which counters with the nicer and somewhat fuller sound colors.
For a price of 3200 USD, the MAD 24 is certainly no bargain, but for me it clearly has an endgame character in the sum of its characteristics. A pure BA IEM with this technically brilliant presentation and such a balanced and well-balanced tuning is rare to find. There is the U12t or a FIBAE 7U. Both are considerably cheaper than the MAD 24, but do not achieve the level of presentation, especially the holographic stage imaging and instrument separation of the MAD 24. As always, everyone has to decide for themselves whether the price is worth it.
drftr