I hope no one sees this as argument, but if you're interested, I'd like to continue this discussion... I must still disagree with your reasoning. Here's an excerpt from Linkwitz that I hope you find interesting:
Electro-acoustic models
"H - Psycho-acoustic 3 kHz dip
Our perception of loudness is slightly different for sounds arriving frontally versus sounds arriving from random directions at our ears. The difference between equal-loudness-level contours in frontal free-fields and diffuse sound fields is documented, for example, in ISO Recommendation 454 and in E. Zwicker, H. Fastl, Psycho-acoustics, p. 205.
Diffuse field equalization of dummy-head recordings is discussed in J. Blauert, Spatial Hearing, pp. 363, and headphone diffuse field equalization by G. Theile in JAES, Vol. 34, No. 12.
Reference to a slight dip in the 1 to 3 kHz region for loudspeaker equalization is made in H. D. Harwood (BBC Research Department), Some factors in loudspeaker quality, Wireless World, May 1976, p.48.
Around 3 kHz our hearing is less sensitive to diffuse fields. Recording microphones, though, are usually flat in frequency response even under diffuse field conditions. When such recordings are played back over loudspeakers, there is more energy in the 3 kHz region than we would have perceived if present at the recording venue and a degree of unnaturalness is introduced.
This applies primarily to recordings of large orchestral pieces in concert halls where the microphones are much closer to the instruments than any listener. At most listening positions in the hall the sound field has strong diffuse components.
I use a dip of 4 dB (x1.gif, 2760NF) to equalize for this. The circuit consists of R, C and L in series, forming a frequency dependent ladder attenuator in conjunction with the 5.11k ohm source resistor. You may choose to make the notch filter selectable with a switch for different types of recordings.
I have found through my own head-related recordings of symphonic music that the dip adds greater realism, especially to large chorus and to soprano voice and allows for higher playback levels. "
I'm just not sure how to put it into simpler words, a microphone hears differently than a human ear. If we are to hear a recording as we would hear it live, then we need either the microphone to record with the same curve as our ears pick up, or the speakers must reproduce that same curve as an output. BBC has also done similar studies in psycho acoustics and concluded with the same results, the now famous BBC dip. They've spent over a million dollars (nearly five million in today's dollar) some forty years ago doing this research.