"Breathing" of the air

You people who don't hear air at a live concert (classical music - no electronic enhancement) are sitting in the wrong seats. Get to the 2nd or 3rd balcony in the very first row with no overhang above you, right in the middle...you will hear air. If the orchestra records, you will be right in line with the microphones.

To get back to my previous post:
You can put what I said the other way round: If you get all that mas o meno right, hopefully including the start, developing and decay of music at all frequencies as well, from pppp to ffff in the dynamic range mind you, you have a good chance to get that air I'm talking about with a good recording, but only with that and only if your system does not cheat too much on you as it generally does though.
So I'm sad, that I am not Count Esterhazy, who could afford a Haydn and his crew for his stereo. (Not to speak of his living quarters)

The Audio Glossary (http://www.audioxpress.com/bksprods/products/bkaa7-s.htm) Defines "air/airy" as, "Pertaining to treble that sounds light, delicate, open and seemingly unrestricted in upper extension. A quality of reproducing systems having very smooth and very extended HF response." The Complete Guide to High-End Audio (http://www.audioxpress.com/bksprods/products/bkap1.htm) defines "air" as, "Sonic description of treble openness, or of space between intruments in the soundstage. Contrast with dull, thick." I've always thought of it in terms of the sense of open space that I get when listening to music in a live venue, or the space that I sense of the recording venue, when listening at home(if the ambience info is on the disc). That is, of course, "ambience recovery" and is directly related to whatever "air" your system possesses/is capable of. There's a lot of ambience info in the bass ranges, but it seems the "life" or "breath"(of the live experience) is in the highs.

There was an audiophile of Peru,
Who said play me something quite blue;
From his listening chair,
He screamed give me air?
But his Wife did not have a clue.

the musicians of a symphony orchestra are positioned very close to each other. there is very little space between them.

perhaps there is an implied disagreement regarding semantics.

in any case, i think it is more important to minimize timbral errors and then the other audiophile concerns may follow.

does anyone have a recipe for achieving timbral realism ?