Sigh ......
This is wrong. Ideally you are trying to match to what was done at the time of mixing and mastering. It is almost guaranteed that was done near field, one of the reasons why a flat direct sound is important, more so moving forward as studio monitors are fast becoming all active with very close to flat responses.
A room response declining in frequency matches more closely what a venue may do to the overall sound. Think about how music is recorded. Microphones close to the artists, absent the impact of where they are recorded. Not exclusively, but most. When someone is working on the mix and master, they are playing with left/right levels, and maybe frequency balance to place the artist in the recording, and then they are adjusting the overall tone so that it sounds right.
Sigh…
(1) Aspiring to make the the room response flat is desirable because it helps to remove the particular way that a particular room alters the sound of recorded media upon playback—it’s a room-specific endeavor, not a global ideal, and the point is not “it sounds good.” The point is accuracy. If the recording is bad no equalization will make it sound “good;” EQ to your heart’s delight to make it sound “good” to you;.