beeglowbot
Well-Known Member
- Thread starter
- #1
I posted this over on the reddit sub but thought I would post it here also.
UPDATED: added separation notes.
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The updated system is a night-and-day improvement compared to what it was before—it’s hard to believe it shipped in its earlier state. Overall, I’m happy with the results and glad it’s finally been fixed. It’s no Mark Levinson, but if this had been the original version, I wouldn’t have had any complaints. I think most people will be very satisfied with it. That said, I have a few thoughts now that the system is functioning properly.
TLDR: The updated audio system is a significant improvement, offering clearer sound, better surround performance, and a more immersive experience. However, issues like harsh A-pillar tweeters, rolled-off high frequencies, boomy bass, separation issues, and artificial imaging persist. Suggestions include adding room correction, improving speaker quality/placement, and focusing on stereo over spatial sound. While not perfect, the system is now enjoyable and satisfactory for most users.
• Muddiness is gone!!: The audio is much clearer now. The center speaker is still a little muffled, the other speakers supplement it well enough.
• Surround sound works well: With the surround tweeters finally active, the soundstage feels much more immersive. Sound is no longer only coming from the center dash speaker—it actually wraps around you now, which makes for a much better experience.
• A-pillar tweeters are harsh at times: Sibilance can be a bit sharp on certain tracks, especially with airy recordings or detailed guitar sounds. For example, Elliot Smith’s Clementine can be a little harsh when the string noise comes through. I’ll probably bring down the 16k a bit.
• High frequencies are rolled off: There’s still some detail missing in certain tracks, which is a little ironic given the occasional sibilance issue. For instance, on Shaed’s Trampoline there are tambourines in the background that partially disappears on this system. Similarly, parts of Michael Jackson’s Thriller—especially in the top-end layers—don’t come through as clearly as they should. EQ tweaks help, but it’s not perfect.
• Mids are decent but could be better: The mids come through fine, but they feel a bit muffled and dark—likely due to the center speaker again. It’s not a huge problem, but I would've prefer them to be brighter and more detailed.
• Bass is heavy but not tight: If you like boomy bass, this system delivers. Personally, I prefer bass to be tighter and more controlled. I’ve lowered it as much as I can in the EQ without making the overall sound feel hollow.
• Imaging is okay but not natural: The imaging has improved, but it still feels a little artificial. High frequencies tend to be pushed to the A-pillars, so the stereo presentation doesn’t feel very natural. Even with stereo tracks, it’s nice to have a sense of where instruments are positioned. Still, for a car system—where nobody is sitting in a perfect listening position—it’s not a dealbreaker.
• Separation: It struggles, there's quite a bit of smearing. It feels like the driver motors are too slow, possibly paired with cheap crossovers. The bass might also be contributing to the issue, considering how boomy and uncontrolled it sounds. It could be bleeding into other frequencies. For example, in The Japanese House’s Clean—a very well produced track with distinct, crystalline "boop" elements that are often smashed together when played in the car.
• 3D Surround settings: Turning this feature on has a noticeably negative effect on stereo tracks. It takes the minor imaging problem and makes it worse, pushing high frequencies to the A-pillars while adding a slight delay that's very distracting. Even on the lowest setting, it’s noticeable. For example, on Hozier’s Too Sweet, it sounds like he’s singing in an empty room with reverb maxed out. I’d recommend leaving this feature off for stereo content.
Suggestions for Rivian:
• Add Room Correction: Since the system is so software-driven, Rivian could take it a step further by adding a room correction feature. This would let users fine-tune the system to their specific preferences, and it’d be a lot easier than manually adjusting the EQ. For example, WiiM has a room correction feature that uses existing hardware like built-in microphones to optimize the sound. It’s not on the level of high-end systems like Dirac Live, but it works well enough to make a noticeable difference. A feature like this could take the system to the next level, especially for those who want a more tailored listening experience.
• Better Speakers in Better Positions: Instead of focusing so heavily on Atmos and “spatial sound,” the priority should be on higher-quality stereo drivers for the left and right channels, with less emphasis on the center speaker. A proper subwoofer for tighter, more controlled bass would also make a big difference. Once the left and right channels are solid, you can supplement with surround satellites as needed. This system is predominantly for music, not a home theater setup, so the stereo channels should take center stage in the design.
Final Thoughts
Overall, the system is much better now. It’s not perfect, but it’s good enough for most people and makes daily listening much more enjoyable. With a few EQ adjustments and maybe a room correction feature in the future, it could go from good to great. As it stands, it’s a solid system that’s finally living up to its potential.
UPDATED: added separation notes.
----------------------------------------------------------------------
The updated system is a night-and-day improvement compared to what it was before—it’s hard to believe it shipped in its earlier state. Overall, I’m happy with the results and glad it’s finally been fixed. It’s no Mark Levinson, but if this had been the original version, I wouldn’t have had any complaints. I think most people will be very satisfied with it. That said, I have a few thoughts now that the system is functioning properly.
TLDR: The updated audio system is a significant improvement, offering clearer sound, better surround performance, and a more immersive experience. However, issues like harsh A-pillar tweeters, rolled-off high frequencies, boomy bass, separation issues, and artificial imaging persist. Suggestions include adding room correction, improving speaker quality/placement, and focusing on stereo over spatial sound. While not perfect, the system is now enjoyable and satisfactory for most users.
• Muddiness is gone!!: The audio is much clearer now. The center speaker is still a little muffled, the other speakers supplement it well enough.
• Surround sound works well: With the surround tweeters finally active, the soundstage feels much more immersive. Sound is no longer only coming from the center dash speaker—it actually wraps around you now, which makes for a much better experience.
• A-pillar tweeters are harsh at times: Sibilance can be a bit sharp on certain tracks, especially with airy recordings or detailed guitar sounds. For example, Elliot Smith’s Clementine can be a little harsh when the string noise comes through. I’ll probably bring down the 16k a bit.
• High frequencies are rolled off: There’s still some detail missing in certain tracks, which is a little ironic given the occasional sibilance issue. For instance, on Shaed’s Trampoline there are tambourines in the background that partially disappears on this system. Similarly, parts of Michael Jackson’s Thriller—especially in the top-end layers—don’t come through as clearly as they should. EQ tweaks help, but it’s not perfect.
• Mids are decent but could be better: The mids come through fine, but they feel a bit muffled and dark—likely due to the center speaker again. It’s not a huge problem, but I would've prefer them to be brighter and more detailed.
• Bass is heavy but not tight: If you like boomy bass, this system delivers. Personally, I prefer bass to be tighter and more controlled. I’ve lowered it as much as I can in the EQ without making the overall sound feel hollow.
• Imaging is okay but not natural: The imaging has improved, but it still feels a little artificial. High frequencies tend to be pushed to the A-pillars, so the stereo presentation doesn’t feel very natural. Even with stereo tracks, it’s nice to have a sense of where instruments are positioned. Still, for a car system—where nobody is sitting in a perfect listening position—it’s not a dealbreaker.
• Separation: It struggles, there's quite a bit of smearing. It feels like the driver motors are too slow, possibly paired with cheap crossovers. The bass might also be contributing to the issue, considering how boomy and uncontrolled it sounds. It could be bleeding into other frequencies. For example, in The Japanese House’s Clean—a very well produced track with distinct, crystalline "boop" elements that are often smashed together when played in the car.
• 3D Surround settings: Turning this feature on has a noticeably negative effect on stereo tracks. It takes the minor imaging problem and makes it worse, pushing high frequencies to the A-pillars while adding a slight delay that's very distracting. Even on the lowest setting, it’s noticeable. For example, on Hozier’s Too Sweet, it sounds like he’s singing in an empty room with reverb maxed out. I’d recommend leaving this feature off for stereo content.
Suggestions for Rivian:
• Add Room Correction: Since the system is so software-driven, Rivian could take it a step further by adding a room correction feature. This would let users fine-tune the system to their specific preferences, and it’d be a lot easier than manually adjusting the EQ. For example, WiiM has a room correction feature that uses existing hardware like built-in microphones to optimize the sound. It’s not on the level of high-end systems like Dirac Live, but it works well enough to make a noticeable difference. A feature like this could take the system to the next level, especially for those who want a more tailored listening experience.
• Better Speakers in Better Positions: Instead of focusing so heavily on Atmos and “spatial sound,” the priority should be on higher-quality stereo drivers for the left and right channels, with less emphasis on the center speaker. A proper subwoofer for tighter, more controlled bass would also make a big difference. Once the left and right channels are solid, you can supplement with surround satellites as needed. This system is predominantly for music, not a home theater setup, so the stereo channels should take center stage in the design.
Final Thoughts
Overall, the system is much better now. It’s not perfect, but it’s good enough for most people and makes daily listening much more enjoyable. With a few EQ adjustments and maybe a room correction feature in the future, it could go from good to great. As it stands, it’s a solid system that’s finally living up to its potential.
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