@59ctd
Usually a driver's positive terminal is indicated by a + mark, a red dot, or the positive terminal is larger or wider than the negative terminal. Even if the terminals aren't clearly marked, you can find out which terminal behind the tweeter is positive and which is negative, with a AA 1.5V battery.
Use some tape to attach two 5-6" long wires to the battery, one to each end. Hold the wire attached to the negative end of the battery to one of tweeter's terminals, and briefly touch the wire from the positive end of the battery to the other terminal. If you've got the positive end of the battery touching the tweeter's positive terminal, the tweeter's dome will move forward with a pop. When you stop the connection, the dome will move back again. If you've got the positive end of the battery touching the tweeter's negative terminal, the tweeter's dome will pop backwards. Once you've figured it out, mark the tweeter's positive terminal with a red marker or nail polish. Be sure to do this for each tweeter.
Looking at the crossover schematic, I'm not certain if Polk intended for the tweeter to have the same or opposite polarity as the woofers. But I am sure they never meant one speaker to have it's tweeter with the same polarity as the woofers, and the other speaker with opposite polarity. The crossover schematic does look like a 2nd order filter. Usually, that means the tweeter's polarity should be opposite that of the woofers.
If it is a 2nd order filter, and Polk hooked up the tweeter with the same polarity as the woofers, that would explain the prominent dip in the frequency response of those speakers between roughly 1,500 and 4,000 Hz, centered at about 2,500 Hz. Reversing the tweeter's polarity should make it largely disappear.
There is about a 7 dB drop going from 1,500 to 2,500 Hz. You'll definitely hear a change that big. However, if your ears are used to hearing that, it may sound 'normal' to you. Reversing tweeter polarity will make it sound brighter at first. I think it's worth it. Getting the frequency response as flat as possible is better than a 7 dB suck-out, especially across the upper mid-range, where our hearing is most sensitive.