My only other complaint— also common with inexpensive soundbars—was that the supplied subwoofer couldn’t always keep up with the bar. It did go low for a small, plastic sub; frequency sweep tones in my studio revealed noticeable output at 40 Hz and above, and there was no obvious sonic gap at the crossover to the bar. On the other hand, while it delivered punchy impact with action movie soundtracks, it could also sound one-notey and overwhelmed when pushed and didn’t do as well handling driving bass lines in music or orchestral scores.
Fortunately, Polk’s controls provide some ability to adjust the sound. I found it best to keep the bar in its Music mode for all content, including movies, and then use the Bass and Voice rockers on the remote to optimize the sound. I also found that propping the front of the bar on my 26-inch-high TV stand for better aim at my ears improved its projection into the room.