That's arguable... If you're talking audiophiles, they are also aiming for the most accurate representation possible.
Yeah, I wasn't talking about those folks. I was talking about the less affluent, but still stereo-happy, crowd. Although, for either one, if you peek into some of the forum discussions the stereo lovers have, they talk about speakers like wine snobs talk about expensive wine. I'm not convinced they are always looking for 100% reproduction as much as just a great listening experience. But, you are right, many such listeners are interested in accuracy.
Can I ask a question about this resonant frequency business? When I think about a resonant frequency of an object, I think about it as the frequency at which the object will vibrate sympathetically. On guitars, this can create wolf tones. If the resonant frequency of the guitar is one of the common notes on the guitar, playing that note will create a level of volume that is out of character with the rest of the notes on the guitar. That's bad, so we try to build guitars that have a resonant frequency that is not on a common note. Ideally, it is below the lowest note on the guitar, so that it is never played, and there is no wolf tone.
If that is what you mean here, then isn't the resonant frequency the frequency at which the stand and/or the floor and/or anything else that could be excited by the speaker starts to vibrate sympathetically? If that is the case, then don't we want that frequency to be outside the normal frequency range expected to be produced by that speaker? If so, I'm not sure how we control that, without "tuning" the objects that are sympathetically vibrating so that they vibrate at a different note. Maybe I'm completely off base.
I do know this much: When I thwap my tuning fork, and place the ball end on my desk, it gets really loud, and it is the note of the tuning fork (A-440) that is sounding out. The desk is acoustically excited by the vibration of the tuning fork, as transmitted by that little round tip, and is "singing" an A-440. If I move the tuning fork to some other large object, that new object "sings" an A-440 too, but with a different tone than the desk. All I have to do to make either object shut up is lift the fork off of it; in other words, de-couple the tuning fork from the object. I'm real sure a layer of foam between the tuning fork and the desk would stop any "singing" from happening.
I'm thinking, I probably don't want my desk to accept direct vibrations from the speaker, because it will "sing" with the speaker, just like it does with the tuning fork. That's bad; I only want the speaker to "sing," because I know what is coming out of the speaker is tonally accurate, but I can't say the same for the desk. This is why I should want to de-couple the speakers from my desk.
Am I off my rocker? <G>