No.
The "frequency response" (for want of a more accurate term) of the ear is level dependent, so it only sounds right when the level is appropriate. The audiophile magic words are Fletcher-Munson Equal Loudness Contours, though there has been a much more modern and accurate ISO standard for the last few decades.
Old-style preamps had a "loudness contour" control or switch which would boost the lows and some of the highs to make an approximate correction and allow for a lower listening level. Most of those are based on the F-M curves, though I think I've seen one published that was closer to the more recent data. But the correction and lower levels have gone out of fashion, so neither approach is at all common these days.
Nevertheless, most studio engineers listen at a level of around 82dB, defined as the moderate-term average (time constant about 300mS) of musical peaks, as measured by a VU meter. A typical SPL meter will have similar characteristics to the VU meter, though not identical.
Note that quality recordings will have instantaneous peaks typically 5 time higher (+14dB), with studio compression. This is well below symphony orchestra levels in the closer seats, which may run more like 90-95dB if I recall correctly, and for a few instruments can have instantaneous peaks some 30dB greater. The real-world peaks are essentially never available in recordings, so that's an interesting but irrelevant piece of data. Clipping of these instantaneous peaks is usually an audible degradation, though it is much more subtle with the soft clipping of zero-feedback SET amps compared to high feedback amps. It's my belief that this effect is responsible for the reputation that SET watts are bigger than solid state watts.
