I know when to stop but I just like keep going.
Oh look more air… 
Oops… I may have had a few too many gin and tonics… You know to keep the covid away…
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Apparently you do not grok the connotative context that I’ve been speaking about here in my previous posts in this thread, regarding contextual “airiness” imbued in the recording, in the context of the OP’s quoted statement above.
I understand folks may want to sweeten to taste or manipulate phase/timing/frequency amplitude through subsequent EQ and room-correction DSP. or to compensate for hearing anomalies… However, you cannot synthesize “air” that was never captured by the original recording… whether this is digital or analog…. You only create a synthetic iteration of the original source signal… The ability of any given DAC to be able to transparently reproduce the captured “airiness” of any given recorded performance is the point of the OP’s statement… Not whether the effect of boosting a range of frequencies substitues as recorded “Air”… Again, I am not talking about creative uses of EQ and the employment of room-correction DSP under subjective conditions.
My previous response to you in the context of the OP’s statement …
If the ‘air’ is not recorded at source, eq on playback won’t make it so.
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Yes… The only thing the ‘AIR’ control on an equalizer will do on a source signal, is to boost harmonics of high-frequencies that were captured in the recording and harmonic equalizers will synthesize a new set of harmonics based on the fundamentals that exist in the source signal.
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Klaatu barada nikto… I grok just fine… And you might note that there is tilt control just for you to juxtapose over…
And yea, if you didn’t capture the “air” of the venue to begin with there isn’t much you can pull out of your mix/master… Maybe time for a dash of one of a million room IRs Reverb…
If your recording/tracking kit or your playback/monitor kit won’t support the bandwidth, A to D and D to A, your hosed… In my case, I can handle a little below 25Hz and a little above 22kHz… A little sip of air in there…
I see production and post-production/mastering as the creative source of deterministic equalization, etc… And any user playback DSP as being related to subjective intentions by virtue of some rationale or another, or in in regard to room equalization/correction, etc, and/or hearing anomalies…
In the case of the Suzan Veneman and the Undercurrent Trio recordings in the album “Cloud Songs”, one would need a “One-in-a-Million IR” of the venue/studio as recorded in that session or those sessions, within that specific acoustic/environmental atmosphere, with the same microphone, to even try to manage replication of the psychoacoustic spatial relationships imbued in the recording… no simple unrelated IR will cut it. This is where experiential juxtaposition reveals the truth. … The recording is the IR…
Yes… This is my point regarding DAC transparency… If the ‘air’ is codified in the encoded bits, the “airiness” imbued in the code is better revealed by some DAC topologies and architectures in juxtaposition to others depending on the resolution of the master, as well as the type of encoding employed in making the master … leaving out other factors influencing the integrity of the source encoded bit-signal lifted from the storage medium.
So for me it is easy to extrapolate from the reference point of " … Looking for something more airy sound. …"
Look, I understand we acquire spatial cues from very-high frequency energy information from reflections, that we sense and orient ourselves to, and interpret space and distance relationships in our everyday real-time living environment… These are our fundamental real-world references that have been built-up over our lifetime… This is in the natural domain of psychoacoustic/cognitive interpretation as constructed through human biomechanics and the adroitness of neural transmission.
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