Audio 3025's, the AMR90's had the dreaded one-note bass. In fact, it's
the worst case of one-note bass syndrome I've heard in recent years. Maybe
I'm old and some kind of fuddy-duddy, but bass notes that keep on going far
after the input signal has ceased drives me crazy. In the Polk's case, kick
drums had the same sound and bass guitars. Literally, I could not pick out
any distinct differences in any type of low frequency music--it all sounded
exactly the same. You know those cars that go "boom?" Well, if that's
your bag, you'll love the Polks as that's all they do.
was markedly better than the bass. Voices and other instruments within that
critical 300-3000Hz range was reproduced with moderately good accuracy. The
midrange imaging ended up being a little too forward or pronounced, but that
was due mostly to the severe lack of highs (no dedicated tweeter). The midrange
ends up being the AMR90's saving grace. If it wasn't for the modestly good
midrange, the Polk's would have scored nearer to the 2/10 range.
were almost totally nonexistent which was surprising for the 2" driver.
This driver size is capable of reproducing beyond 10kHz, but the designers
chose to use drivers that favored the almighty bass. If the sub control is
cranked up past about 25% of maximum, you'd swear the 90's had no midrange
bottom lines. The Polk AMR90's cater to the individual who considers themselves
to be "bass freaks." If all you want to hear from your games and
music CD's is boom, boooooom, boooooooooom, then
you'll get quite the kick from these diminutive wonders. However, for the
vast majority of people who want to hear more than just sloppy, high "Q"
bass and absent highs, point your ears to Altec or Midiland as those two manufacturers
have had my ears for several years now.