it ought to be entirely recording dependent. the more your system shows you differences between recordings, the better it is. cuz they are all different.
if your system and room have sufficient acoustics, space and signal path headroom, then any sort of mix present on the recording should be laid out for you to hear.
you should not consciously hear speakers nor the room. it should be just the music. some mixes bring the players into your room, others bring you to the venue space. your system should be capable of both at the highest levels.
if you play ’Whole Lotta Love’ at wrap 9 the sound should be everywhere; around, above and across the soundstage. closely mic’d concert grand piano should take up the whole stage. live recordings of a small combo jazz club should sound like that. full orchestral should be spread out all across and high and low......if the mic set-up and mix/mastering engineer did his job correctly.
height of players should be slightly different every time and scaled to the recording. one size fits all is a sort of distortion.
if it’s all one height, or one space, then you have work to do. there are so many variables to work out as to cause and effect. and certain driver types struggle to recreate some soundstages.
my room was set up to be able to do large scale music at the top level. took me many years to get that part right, and then more years to get intimate music to work too. it’s not a trivial thing.