SQ can vary with your position spatially, volume, and the mix of the composition. There are some recordings that people testing mics and studio use. Many recordings are limited by the quality of the recording.
For example, I do my HQ recording to two Korg MR-1s recordimg 1-bit PDM at 2.8Mhz (vs 16-bit at 44.1khz or 48khz in most video cameras). The Korg software transcodes that to 32bit @192khz leaving a layer of audible noise above 30-40khz. 20khz is high end of human hearing, however higher frequencies are aliased over the lower frequencies if the low pass filter doesn't get them. This lets the recording bypass the the attenuation of a low pass filter. I then delete them in a 3D spatial representation using Adobe Audition (formerly known as Cool Edit Pro).
The point is that most recordings are hammered into compressed formats, often recorded or at some point transcribed in a way that attenuated bass, treble, or clarity in general. You can actually see the clarity if you compare different mics in the 3D representation.
So...get a good recording of what you listen to, sit in a seat that you or other listeners will be in, in the position they will be in, and listen adjusting the system with the available controls.
Note, that a good home system comes with a mic that you place in your listening location. Then the system sends out signals from each speaker determining its frequency response and delay to the location. Finally, the pre-amp sets the gains and delays that are correct for each speaker.