Polk Audio HTS 12 Ported Subwoofer Review

While Audioholics has reviewed many loudspeakers from the popular brand Polk, we have never reviewed any subwoofers from them even though Polk subs are one of the most common and widespread brands out there. One reason for that is that most of the subwoofers from Polk are relatively entry-level models, and we don’t normally deal with the lower-end models since our readership is more interested in higher-performance audio equipment. However, Polk does have a model that, on paper, looks like it could have fairly good performance, and we have decided to give it a closer look since we have been dealing with a plethora of subs around the same price range. The HTS 12 subwoofer was released around 2017, so it isn’t exactly a new model, but it is still very relevant because it is still being bought in large quantities and has found its way into thousands of homes. It is a popular sub, but what does it bring to the table amidst this highly competitive price range? Let’s now dig in to find out…

Polk HTS 12 Appearance

 

As ~$500 subwoofers go, the HTS 12 is fairly nice-looking. The basic shape is a black cube, but it takes steps to soften up any blockiness. The longitudinal edges on the top and bottom are heavily rounded, so there are no hard corners. The inset for the front baffle has rounding similar to the outer shape, and it carries into the base platform that the sub rests on. The base platform is a single large plastic molded piece that perfectly contours with the cabinet's shape. With the grille on, the front baffle is a featureless black fabric plane with the exception of a Polk badge in the upper right corner. With the grille removed, we can see the platinum-esque luster of the driver that matches the Polk badge. It is surrounded by a black gloss trim ring and is set in a black textured vinyl front baffle. The whole effect is unexpectedly stylish for a budget subwoofer. Of all the subs in this price range, I have to say this one looks the nicest.

Design Analysis

The Polk HTS 12 is not a very complex subwoofer. Much about it is fairly typical subwoofer design albeit with one major exception. What really separates it from other subwoofers is the implementation of Polk’s patented ‘Power Port.’ This is a port that is heavily flared on both sides and also has spikes entering both sides of the ports (the spike on the inner end of the port is obviously not visible unless you take the sub apart). The goal of the Power Port design is to reduce port turbulence.

 

For novices to loudspeaker design, the function of ports on speakers and subwoofers is to produce sound more efficiently in low frequencies than the drivers are able to by themselves. They do this by using the backward motion of the woofer into the cabinet to resonate the air mass within the port. This resonance is called Helmholtz Resonance and uses the same principle to produce sound as when someone blows air over the top of a bottle and a clean note can be heard. In a loudspeaker or subwoofer port, the air mass has to remain uniform and stable when being vibrated in order for this resonance to work. However, after a certain point of high excursion, the woofer moves so much air in the enclosure that the air mass within the port cannot maintain cohesion and instead becomes disrupted so the airflow in the port becomes chaotic. Instead of producing a clean signal, the port now generates wind noise that we call port turbulence. This, of course, is an unwanted distortion that can sound pretty bad.

Much research has been undertaken over the decades in finding optimal port geometries in order to maximize the stability of the port air mass at higher drive levels, and Polk’s Power Port is their effort at satisfying this design goal. The idea is that the spikes sandwiching both ends of the port help to guide the ends of air mass to make a more orderly entrance and exit of the port thereby maintaining cohesion for higher levels of oscillation. It’s hard to tell how well it really works versus standard port designs, and only Polk’s engineers know that much, but I doubt that Polk would go through all of that expense and effort for a technology with only negligible returns. It seems to work in practice; when I ran test tones through the HTS 12 at maximum volumes, I didn’t hear anything that sounded like port turbulence, so I think that Polk is probably on to something with their Power Port design.  

  

Outside of the port and the industrial design of the HTS 12, the remainder of it looks fairly standard, but that is good so long as it is executed competently. The driver uses a polypropylene cone that is affixed to a stamped steel frame by a 1” thick surround. The motor doesn’t look huge, but without knowing the magnetic flux, we don’t know its true strength. Ventilation is done in the frame underneath the spider. It does have a slightly bumped-out backplate for longer excursions before bottoming out.

  

The HTS 12 is powered by a 200-watt class-D amplifier (400 watt peak) with a basic feature set. Controls consist of a volume knob, low-pass filter knob ranging from 40Hz to 160Hz, power/auto-on switch, and a 0-180 degree phase switch. Connectivity only consists of a left and right RCA inputs set as well as an LFE RCA input. The amp board itself has four aluminum heatsinks, and that combined with the class-D design bodes very well for thermal control. In electronics, heat is the enemy of long-term reliability, and the HTS 12 has taken serious measures for heat dissipation.

The enclosure is unexpectedly well-built for this price point. While the side paneling is only ½” thick MDF, there are two windowpane braces, corner bracing, and double-layered paneling for the front-baffle. The interior is also chocked full of acoustic stuffing. The structure of the cabinet combined with the beefy plastic base make this a fairly sturdy subwoofer. 

Listening Sessions

The best placement for a single sub in my room gives me a relatively flat response for an un-EQ’d single subwoofer, with a window of +/- 4 dB from 25 Hz to 100 Hz with no broad dips in important ranges. This location trades low-end room gain for a relatively flat response, a worthwhile trade for my tastes. The receiver used was a Marantz AV7705. The crossover was set to 80Hz. The speakers used were some PSB Synchrony B600s powered by a Monoprice Monolith 5x200-watt amplifier.

As always, I will note here that since room acoustics have a huge effect on low frequencies, the way these subwoofers sound in my room at my listening position is not necessarily going to be the way they sound anywhere else for anyone else, so readers would do well to keep that in mind, and not just for this subwoofer in this review but for any subwoofer in any review.

Music Listening

One of the more dazzling modern pipe organs is the Rosales organ in the Walt Disney Concert Hall, which was inaugurated in 2004. With 6,134 pipes including some 32’ ones weighing in over 800 lbs. and capable of a subsonic 16Hz note, it is a formidable construction with stylish pipe designs that have earned them the name ‘French fries’ on account of their appearance. “Once Upon a Time… at the Walt Disney Concert Hall” shows off the capability of this organ with some appropriate fantasy and fairytale-themed pieces by the likes of Chopin, Ravel, Durufle, and Dupre, among others. Some of these tracks do lean pretty hard on the lower registers of the organ and so also can lean on the bass section of any sound system that attempts to reproduce it. This 2020 release comes from the label Brilliant Classics, and I streamed it from Qobuz.

From the first track onward, the HTS 12 was able to provide an authoritative low-frequency foundation for “Once Upon a Time…” The bass was given some real muscle. This was one of those pipe organ recordings that was not afraid to touch on powerful bass, and the HTS 12 was able to express that. A couple of aspects that were evident from the recording was that the Walt Disney Concert Hall was a very large auditorium and that the Rosales Organ installed there was very powerful. While I could hear that the reverb was light, I could also tell it had a long decay time, so the facility was massive, yet the low frequencies had an imposing presence, and I could hear it energize that huge space. While the bass produced by the HTS 12 was powerful, it was not boomy or overbearing, so the sub was able to do more than just rumble the proceedings. Softer notes were given subtlety, and I could hear the low-frequency decay of the reverb. One example occurs on track 7, “Suite bergamasque: III. Clair de lune,” where the bass gently underpins the lead melodies of this classic composition. In fact, the softness of “Clair de lune” led to a shock by the following track, “Deuxième esquisse, Op. 41 No. 2 in B-Flat Minor,” which explodes off the line with fire and brimstone, surely a deliberate choice by the recording artist to startle the listener. The HTS 12 handled the contrast between “Clair de lune” and “Deuxième esquisse” with aplomb, providing delicacy when asked for and thunder when needed. After listening to the album, I am sure that pipe organ enthusiasts would enjoy the force and control that the HTS 12 could exert over the lower registers of the ‘king of all instruments.’

 

Another acoustic instrument that frequently dips into subwoofer-band frequencies is the double bass, and a good example of this occurs in the album “A Closer View” by jazz bassist Gary Peacock and guitarist Ralph Towner. This album is fairly relaxed jazz, and, as such, doesn’t bang hard on bass, but it does enable the double bass to dance in the lower notes abundantly throughout its running time. Even though it is a slightly older album, being released in 1998, the recording quality is superb, and this could easily be an audiophile staple. What makes it a good demonstration of subwoofer performance is the transient nature of the double bass playing. A sloppy subwoofer will smear the sharp attacks of the string plucks and muddy up the more rapid notation in Peacock’s double bass artistry. I had a feeling that the Polk HTS 12 wasn’t going to be sloppy, but how well could it handle this album?

Albums like this aren’t just a good demonstration of a sub’s transient response; they also serve as a test of how well the sub is integrated with the main speakers. Any sense of low-frequency lag could be due to poor subwoofer calibration rather than the sub itself. Thankfully the HTS 12 didn’t need any special treatment to sound right with this album. Aside from adjusting levels, it is a plug’n’play sub, and the simplicity and predictability can be a real advantage. Peacock’s double bass strumming sounded cohesive and singular. The HTS 12 gave the double bass a real sense of mass and presence. Much of the double bass sound was being relayed through the main speakers, but there was no disconnect between the spectrum of sound between the sub and speakers. The plucks had a sharp attack and mutes had an immediate halting. The HTS 12’s pitch definition was terrific, and this can be heard especially well in the notational complexity in track 6, “From Branch to Branch,” a virtuoso display of double bass mastery. The subsequent track, “Postcard to Salta,” also let Peacock get fairly busy with his double bass, and it sounded great on the HTS 12. The HTS 12 might not be a super high-end sub from a dedicated subwoofer manufacturer, but I had no complaints with its performance on “A Closer View.” Some people might think that a higher-end sub is needed to do justice to an audiophile album like this, but I don’t think so. I think the HTS 12 could hang with far more expensive models for this type of music. It surely has its limitations, but they weren’t evident in this music.  

For a subtler use of bass, I found an atmospheric album titled “Remnants” by Randall Collier-Ford. This 2015 release from the Cryo Chamber label has nearly continuous low-frequency content, but it isn’t bombastic bass. Rather, it is understated, but it is present and underlines the unfolding soundscapes that depict a ruined husk of a world. Field recordings blend with electronic tones to create a dark haze of sound that induces a feeling of dread and apprehension. Low-frequency playback needs a system with a light touch in order not to overdo the bass thereby turning the sound into an indiscriminate rumble, but it also needs enough power to produce a convincing environment of sound.

“Remnants” opens with a complex layering of sounds that usher the listener into its psychosphere, among the sounds is a massive kettle drum thump along with a soft underfoot crunching as if we are trundling into its realm. The HTS 12 gave the drums a solidity which lent them realism, but the low-frequency crunching sound was not lost amidst the pounding drums. The following track, “Horns of Eden,” unleashed a very deep guttural bass sound that the HTS 12 used to shake my room. It was unexpectedly powerful bass from a 200-watt 12” sub. Subsequent tracks used a variety of deep bass sounds to construct Collier-Ford’s dystopian vision. Mutating machine drones, earth-trembling rumbles, distant thunderstorms, and titanic cathedral bells; the HTS 12 deftly reproduced all of the low-frequency sounds with fine delineation, and it never confused or blended different bass sounds together when they were being used simultaneously. It’s possible that there was bass that plunged deeper than what the HTS 12 was capable of, but if that was the case, I didn’t notice it. I don’t expect that the HTS 12 would be doing a lot at or below 20Hz, and I don’t know if “Remnants” had anything that dug that deep, but the sound that I heard seemed full, and the HTS 12 was certainly touching some deep frequencies on this album. This subwoofer provided a solid bedrock to this album and helped to make its nightmare world a tangible reality. The music might not be everyone’s cup of tea, but HTS 12’s performance cannot be faulted and seemed to defy its modest pricing.

 

For something to see what the sub could do when pushed hard, I selected “Contrasts” by Maere. This is an electronic music EP that goes heavy on the bass but easy on the tempo. It is simultaneously heavy-duty but also laid-back. Maere’s unique sound elevates “Contrasts” well above the standard monotonous electronic music. Despite coming from the famed drum’n’bass label Division recordings, it isn’t really danceable, but it is very imaginative and loads of fun to listen to on a capable sound system. At higher volumes, it will give any subwoofer a serious workout.

I cranked the volume and ran the bass a bit hot, and off we went. At moments of heavy bass, the HTS 12 did not have any trouble keeping up. Indeed, it managed to belt out a fairly beefy bass sound that had no problems energizing my medium/large space with open hallways. Notable tracks with some serious bass include “#Cursed” and “Rotten Glitter.” The HTS 12 brought a visceral thump to the fat basslines and kick drums in these tracks. I do think that I was able to touch its limits in brief moments of very high volume, but I was surprised at how high those limits are. At the limits, the sub did not complain- it simply stopped getting louder rather than producing any audible distortion. Clearly, the limiter was keeping the driver on a short leash. Polk knew that some buyers would probably run the sub pretty hard, so they opted to make sure the sub could not beat itself to death in order to lessen the rate of returns, which was certainly a wise choice. Nonetheless, this inexpensive ported 12” somehow had some real punch and was a lot of fun. Buyers looking for a sub for louder electronic bass music definitely have a great choice in the HTS 12 for the money.     

Movie Watching

A family member strongly recommended the film “Everything Everywhere All at Once” and foisted their copy of the Blu-ray into my hands, and so in watching it, I had little choice in the matter. That is ok though since this effects-heavy film should have a lot of bass in it to serve as a good demonstration of what the HTS 12 can do for a big-budget action movie. “Everything Everywhere All at Once” concerns an older Chinese immigrant who is having a midlife crisis. Her laundromat is failing much like her marriage, her relationship with her father and daughter is strained and she is facing an audit by the IRS. In the midst of all of this, her reality fractures, and she sees what might have been in alternate timelines. However, all of these timelines are threatened by an entity that only she has any chance of stopping.

“Everything Everywhere All at Once” turned out to be a madcap and boisterous movie with a similarly madcap and boisterous sound mix. It had an abundance of bass-heavy moments, including many wild fight scenes, turbulent transitions from different realities, and the ominous hum of the ‘everything bagel.’ The HTS 12 animated all of this low-frequency content with gusto. The thuds of punches and kicks were delivered with a palpable impact, and the roar of the ‘everything bagel’ seemed to emanate from everywhere. Certainly, a more powerful sub could have rendered these elements with more force and violence, but few people would need that outside of a dedicated home theater room. For a sub to complement a system in a family room or bedroom, I am sure that the HTS 12 is more than sufficient for most people’s use. It can get loud, although not really ‘commercial theater’ loud, but very few people rock their movies at that sort of loudness level. I am sure that the vast majority of buyers will be satisfied with its dynamic range. “Everything Everywhere All at Once” was a fun movie and surpassed my expectations, and the HTS 12 helped to make my viewing experience a truly cinematic one, which is what this film deserves.

 

One movie that I had not yet seen which promised a whole lot of bass was the 2013 fantasy-actioner “Jack the Giant Slayer.” This medieval fantasy concerns a young farmhand who unwittingly opens a gateway between the land of men and the land of legendary giants. The giants begin to invade and conquer the humans’ domain, and our protagonist must close the portal before humanity’s home is completely destroyed. While this $200 million movie was not a commercial success, it did look watchable, so I decided to see what the HTS 12 could do for a sound mix for a large-scale Hollywood epic while it was still available on HBO Max’s streaming service.

“Jack the Giant Slayer” did indeed have a lot of heavy bass, and the HTS 12 was able to reproduce it all with enthusiasm. Much of the last half of the movie is a bass buffet with the resounding footsteps of the giants marching across the land and attacking a castle. The HTS 12 brought an earth-quaking rumble to their colossal efforts. Even though it isn’t the biggest or most powerful sub I have used, it still provided a satisfying oomph to much of the sound mix when the giants were onscreen. The scene with the most prodigious use of bass didn’t involve the giants at all and instead was the collapse of the gigantic beanstalk onto the land. Its impact on the ground was thunderously announced by the HTS 12, and its effects were felt as well as heard. Its cone was probably being pushed to the limit, but it gave this fantastical scene a concrete realism and a sense of true weight. “Jack the Giant Slayer” was a passable Saturday afternoon matinee film. As an effects-driven film with a formulaic story, it really needs a high-quality AV system to shine. The HTS 12 helped to make it watchable and even enjoyable at moments. That serves as high praise for the HTS 12 since “Jack” is pretty routine and thus forgettable Hollywood fare otherwise.

Polk Audio HTS 12 Subwoofer Measurements & Conclusion

 

Testing on the Polk Audio HTS 12 was conducted with the microphone facing the woofer at a 1-meter distance with measurements scaled back to a 2-meter distance by subtracting 6dB. The temperature was recorded at 59F degrees with 70% humidity. The subwoofer’s gain was set to maximum, phase was set to zero, and the low pass filters were set to bypass.

 

The above graph shows the measured frequency responses for the HTS 12 subwoofer. This response isn’t ruler flat like we normally see in pricier subs, but it is in line with other subs we have looked at in its price class. Getting a totally flat response is nice, but it does all get ruined once the subwoofer is placed in any normal-sized domestic room since room modes will completely mangle the response. That being the case, the response shape shown here is just fine for practical purposes. The room will take its toll, and many users will EQ it after that. In this response, we can see that the port-tuning frequency is a bit under 30Hz, and below that the response sharply falls off. I think that for most users, room gain will shore that response up to at least the mid-20s. This is not the deepest digging sub that we have seen, but this bandwidth will capture the bass in the vast majority of music and most bass in movies. If we assume that room gain shores up a steady response down to 25Hz, that should net a very satisfying bass sound for most people. The HTS 12 doesn’t have a whole lot of usable upper bass extension, and I wouldn’t bother with a crossover frequency higher than 100Hz, although a 120Hz crossover would probably work ok with some equalization if it was needed.

 

The above CEA-2010 measurements are short-term bursts that show the subwoofer’s clean peak SPL before heavy distortion sets in. Our measurements have been referenced to 2-meter RMS, which is 9dB down from the standard requirement for the measurements to be shown at 1-meter peak. However most publicly available CEA-2010 measurements are shown at 2-meter RMS, so we followed that convention. While the HTS 12 doesn’t really try too hard in deep bass, it makes up for that in mid-bass power. The burst output shown here is well above average for this segment. From 50Hz to 100Hz, the HTS 12 averages 111dB, and that is an impressive amount of punch. 103dB at 31.5Hz and 107dB at 40Hz are also quite competitive for this segment. One notable attribute is that even though THD plus noise is significant at 21.5% at 31.5Hz, it tops out at that point, and it cannot produce any more distortion than that. From 31Hz and above, the HTS 12 does not surpass the CEA-2010 distortion thresholds. At 40Hz and above, it can barely be pushed above 10% THD which is very clean for a maximum drive level. You can push this sub hard and it does not lose control. The DSP is likely tightly regulating the type of signal that the amp is sending to the driver. The goal here is not just to have a clean, undistorted sound; since Polk makes so many of these things, they are keeping the driver on a short leash, because it would be very bad news for them if they were experiencing widespread failures when they are manufacturing thousands of these.

This burst test data places the Polk HTS 12 solidly in Audioholics’ Bassaholic ‘Medium’ Room Rating, meaning it should be able to handle a room of 3,000 cubic feet. For information on how the room ratings are determined, please read our article “Bassaholic Subwoofer Room Size Rating Protocol”.

 

Testing for long-term output compression was done by first conducting a 20-second sweep tone where 50Hz hit 90 dB with the subwoofer 1 meter from the microphone (graph has been scaled to 2 meters for easy comparison with our other review measurements). We then conduct further 20-second sweeps by raising the gain by 5dB until no more output could be wrung out of the subwoofer. These tests show us the long-term continuous headroom that the HTS 12 is capable of. This is a respectable showing, with the HTS 12 maintaining a long-term 105dB from just above 40Hz to 100Hz. At the highest drive level, the response does become rather peakish as output below 40Hz compresses, but that only happens in the last 5dB of output. The HTS 12 holds its response shape very steady until that point.

The response shape has indications of induction affecting the response. Induction occurs when the charged voice coil’s motion in the magnetic field creates a counter-current, but the problem is that the counter-current creates an opposing magnetic field that diminishes the initial, desired field. It is usually characterized by a peak in the response somewhere from 50 to 70Hz, lowered upper-frequency sensitivity, as well as a steady rise in even-order harmonic distortion products with increasing amplitude. Higher-end subs employ short-circuiting rings (frequently called ‘shorting rings’) in the motor to short out the induced current, but we don’t see shorting rings used often in subs of the HTS 12’s price range due to the increased cost. If Polk had used a shorting ring in the HTS 12 driver, we might have had a flatter response overall with more upper-bass sensitivity albeit with reduced output at the ~50Hz peak seen on this graph.

The above graphs show the corresponding total harmonic distortion to the long-term output graphs. Essentially, they depict how linear the subwoofer remains for the corresponding drive level seen in the long-term sweeps. The quantity being measured is how much of the subwoofer’s output is distortion and is shown here as a percentage. The results shown here are mostly good and are what would be expected based on the previous performance date shown for the HTS 12. At nominal drive levels, the distortion is extremely low for the HTS 12. In fact, much of the increase in deep bass at the lowest level sweep shown here, the 95dB sweep, is mostly environmental noise rather than distortion from the sub itself. At this level, we are looking at 1% THD from 40Hz and above. Even if you blast the sub to its absolute maximum drive level, THD cannot be pushed past 10% above 40Hz in long-term signals. One thing we can see from this graph is that the port tuning frequency seems to be 25Hz; the dip in distortion at 25Hz shows where the port is restricting the driver’s motion most effectively. At higher drive levels, distortion skyrockets below 25Hz. However, it should be kept in mind that output is also plummeting fast, so the overall distorted sound being produced by the sub is also at a much lower level and is thus less audible. In my testing, this sub was well-controlled and refused to be pushed into making a nasty sound. The HTS 12 is really only concerned with 25hz and above, which is a very reasonable compromise to make for a sub of this class and price range.

 

The above graphs depict measurements of the constituent harmonics from the long-term output sweeps and are what the total harmonic distortion measurements are composed of for the 2nd and 3rd harmonics. These individual harmonics can give us a clue as to what might be the cause of some quirk or non-linearity. We are only showing the 2nd and 3rd here because they more or less reflect the higher even-order and odd-order behaviors, although higher-order harmonics tend to be much further down as a percentage of distortion compared to the second and third.

We can see from the above graphs that the distortion seen on the THD plots is largely composed of even-order products. Some of the even-order products stem from induction effects, but the lower frequency rise is much more likely due to excursion strain in the magnetic field and/or tension in the suspension. The good news is that even-order products are less audible and less objectionable than odd-order harmonics, and the HTS shows very little odd-order distortion products above 25hz. One reason why I didn’t really notice any nasty noise from the HTS 12 in outdoor testing is because even-order distortion is just less obvious and dissonant sounding than odd-order distortion. Unfortunately, having the total distortion being dominated by even-order products also means that there might have been a chance to increase total clean output a bit more since even-order distortion indicates that something was only hindering one side of the cone’s travel. It’s possible that Polk decided to give up a little bit of Xmax in favor of having even-order distortion being the dominant type on account of its less offensive nature.

 

Group delay is the measurement of how much time it takes for individual frequency bands of an input signal to be produced by the speaker. It can indicate that some frequency components are developing slower than others or are taking longer to decay. It is generally thought that 1.5 sound cycles are needed for group delay to be audible at bass frequencies, although there is an argument that group delay should remain under 20ms to be completely unnoticeable, but that is likely meant for mid and upper bass frequencies.

The HTS 12 puts up a good showing here and never even crosses over the 1 cycle mark until well under its port tuning frequency. There is a pipe resonance spike at about 180Hz, but that would be totally filtered out using any normal crossover frequency to the main speakers. The stricter 20ms threshold isn’t crossed until just above 30Hz, a fairly deep frequency and unlikely to lead to any audible artifacts, even in the most critical listening environments. In short, anyone worried about any problems in the time-domain shouldn’t be concerned. I didn’t hear any problems in my listening sessions, and, seeing this graph, I wouldn’t have expected to.

Conclusion

Before bringing this review to a close, I will briefly go over the strengths and weaknesses of the product under evaluation, and, as usual, I will start with the weaknesses. When taking the pricing into consideration, I don’t see many weaknesses with the HTS 12, and it does a lot of things right. However, if you are looking for a subwoofer that digs down into extremely deep frequencies, this one doesn’t do that. It does dip into the mid-20Hz region with some power, but it is completely out of steam below that point. That isn’t a bad trade-off though, since to even break into the 20s is fairly deep bass, and it does capitalize on its lack of infrasonic bass extension by providing more dynamic range in regions that are a lot more audible, i.e., 30Hz and above. Nonetheless, buyers who are looking for a sub that has serious output in extremely deep bass for a dedicated theater room should probably be looking at other models. Most of the other subs that we have looked at in this price range had a bit more low-frequency extension than the HTS 12. There is no doubt that it digs deep enough for most people’s tastes, but home theater enthusiasts will want something with more potency below 30hz. On the other hand, they would probably be looking to spend a lot more than $550 on a subwoofer anyway, so the HTS 12 wouldn’t even enter into consideration for them.

Some potential buyers might criticize the HT2 12 for having a lack of amplifier features such as app control or EQ functions, but much of that stuff is better done on the AVR or whatever device is controlling the sub rather than the sub itself, so I don’t regard its sparse feature set as a con but rather just not a pro. That sort of stuff is nice to have but not at all necessary.

 

There isn’t much else that I can think of that the HTS 12 could be faulted for, so let’s now go over its strengths. In my view, its foremost strength is its overall performance. Above 30Hz, it packs a punch, maybe as much as can be had at its pricing for a home audio subwoofer. 110dB at 50Hz and above in burst testing is excellent for this segment. It proved to pack a major punch for music and had some real muscle for movie content as well. What is more is that it produces very clean bass too. The HTS 12 did not produce much distortion above 40Hz, so if you are looking for a clean undistorted sound in music range frequencies, the HTS 12 has your ticket. At the highest drive levels, it could generate some distortion at 25Hz to 35hz, but even then, it was fairly well controlled and is comprised of less audible even-order distortion products. So even when this sub is pushed hard, it manages to keep its cool. It cannot be pushed to a level that would endanger it, and its self-protection is rock solid. Its time-domain behavior is good for a ported sub, and the HTS 12 won’t sound laggy or sloppy at all.

Outside of its performance, this is one of the nicest-looking subs within its price range. It is stylish without being garish, which is a real feat for a low-cost subwoofer. Polk’s industrial design is usually pretty good, and the HTS 12 is no exception to that trend. It is unlikely to garner complaints about its appearance from anyone but the pickiest aesthetes. Its build quality is well above the norm for this price segment as well; it has multiple internal windowpane braces, a very serious port, heaps of acoustic stuffing, and a substantial base for the enclosure. That mass can be felt in its 50lbs., which makes it one of the heavier subs in this class. 

In the end, I would say that the HTS 12 is a solid choice for the money. It has been out for a little while now, and much of the customer feedback for it has been very positive. I can see why people like it so much. It’s a well-rounded and well-executed sub from Polk that doesn’t really cut any corners which is surprising given its pricing. It’s good for movie watching and terrific for music. I think that a lot of people looking for a simple, nice-looking sub for their family room are going to be surprised at the performance it offers. I also think that those audio aficionados who would dismiss a subwoofer from a major manufacturer like Polk don’t really have any ground to stand on with the HTS 12. Its overall performance is too good, and it doesn’t have any significant shortcomings for its cost.

The Score Card

The scoring below is based on each piece of equipment doing the duty it is designed for. The numbers are weighed heavily with respect to the individual cost of each unit, thus giving a rating roughly equal to:

Performance × Price Factor/Value = Rating

Audioholics.com note: The ratings indicated below are based on subjective listening and objective testing of the product in question. The rating scale is based on performance/value ratio. If you notice better performing products in future reviews that have lower numbers in certain areas, be aware that the value factor is most likely the culprit. Other Audioholics reviewers may rate products solely based on performance, and each reviewer has his/her own system for ratings.

Audioholics Rating Scale

• — Excellent
• — Very Good
• — Good
• — Fair
• — Poor

Metric	Rating
Bass Extension
Bass Accuracy
Build Quality
Fit and Finish
Ergonomics & Usability
Features
Dynamic Range
Performance
Value