It's nice when the frequency spectrum of a raw recording is already good to start, without needing any further manipulation to correct or sweeten it. And over the course of many recordings, some mics will be closer to that than others. Yet.. to the extent that does occur, when and where that kind of thing happens or not tends to correspond with variables of the venue, PA and soundman as much or more than it does with the microphones themselves.
For this reason I tend to judge microphones not by their native responses alone, but rather by how easily I can manipulate the response to what I want. The thing is, this can only be determined by trying the microphones and playing around with EQ making such corrections. Doing that "levels the playing field", upon which a microphone which may have been less prefered without any EQ applied can end up producing a consistently superior result after correction than one which was closer to just-right from the start, yet doesn't respond as nicely when applying EQ. Some mics "take EQ" better than others, and I take that to be related to their relative smoothness of response, both directly on-axis as well as the overall diffuse-field response for sounds arriving from all directions in average.