Low volume listening dynamics

A high sensitivity speaker may or may not be more detailed than a low sensitivity speaker. The most detailed speakers are ESLs and they are not so efficient. 
The problem of listening at low levels is that our ears sensitivity to bass and treble is greatly diminished so unless you have some way to compensate for this low level listening is always going to be low fi. 
Compensating for this means loudness compensation for the volume you like listening at. Only a digital room control system with the ability to create custom target curves can do this effectively. 
The other solution is.....just turn it up:)

Mike, sitting closer is just turning up the volume. It certainly helps negating any room problems.
The beauty of having 8 foot line source dipole speakers is that you are always near field even 12 feet away. 
Irregardless of the equipment being used and the room are in you can not magically overcome the Fletcher-Munson effect. Bass and treble have to be boosted to match the volume level or you will be missing low bass and detail. 
The only way to overcome this without an advanced digital system is to adjust the volume until things sound right and there is not a single level. It depends on the way the recording was mastered. Some records don't sound right at lower levels others hurt if you play them too loud. 
This is for serious listening. For background music it really does not matter. 

jriggy, in short no. Some people here on definitely on the right track. This is a moving target and there are many variables that are difficult to control. The most difficult one is the recording itself. Some records sound good at low levels others not. Systems that are boosted in the mid bass and treble for whatever reason are going to sound better at low levels. 
The variable that you want to be able to control is the frequency response of your system. The industry has know this for a long time. My father's HH Scott preamp from the 60's had tone controls and a loudness compensation switch. Then equalizes came along in the 70's but audiophiles were beginning to shun them because of the damage they did to imaging. In 2000 or so TACT audio came along with digital equalization and room control. Before TACT went out of business They evolved to the 2.2X which has Room control, Time alignment, bass management and dynamic loudness control. The loudness compensation changes with volume. The result is the system sounds the same at all volumes. The unit also allows you to design any response curve you can think of and load it into memory. You can switch back and forth between curves with the remote. This was an amazing education for me and would be for any audiophile. As long as everything is phase/time correct and early reflections are minimized you can make a system do anything except change imaging patterns created by the type of speaker used. You can't make a point source speaker sound like a line source. 
So, if you want more detail at low volumes you create a low volume curve with even more added bass below 100 Hz and more treble above 6000 Hz. The TACT 2.2x is the ultimate tweak. Current units that come close are the Anthem STR preamp and the Trinnov Amethyst. Unfortunately they have yet to include dynamic loudness control. Radomir Bozevic where are you when we need you! Radomir designed the Lyngdorf units. They were the bottom end of the TACT range. 

glassrd, no upset at all. I have been doing essentially the same thing for 20 years. You have just programmed your own loudness compensation.
The unit I have allows you to program 8 loudness compensation curves each one active in a specific volume range then the unit jumps from one curve to the next as you adjust the volume. Dynamic Loudness compensation.