Mapman,
Logic would dictate that the rendidion of "air" would depend on resolution and "transparency" and in fact, I think it does in the way these terms are generally used here.
This is not what I mean however, so I'll try again:
Strangely enough, the definitions you looked up describe exactly what I mean. It is a dynamic process which starts from a source and then spreads, flourishes... in case of music ...in space. This phenomenon strikes you at once, when listening to a live event right at the first bar of music in that split second before hall induced reverbs set in, as the sound emanating from the instruments rises and spreads. It is something airy as well as liquid, easy to pinpoint, hard to describe. Audiophiles, especially unfamiliar with big orchestral classical live music, probably have hardly heard this, because, as I said, our rigs cannot do this. Digital not at all, even if you mix in tons of hall, because that masks that effect, SS rarely and tubes sometimes. Most cone driven speakers - I am not familiar with more recent designs - mask this as well, stators and ribbons, also plasmas are better suited for this. As far as software is concerned, Blumlein miked , Decca trees, or the Mohr, Layton recording techniques did bring something of this across. I had Quads and Jadis gear at this time. It was, though euphonic, closer to the real thing than most of the rigs I have occasion to listen to now. But then of course my ears have grown old and I have resigned to the fact, that with things being as they are, you will hardly get those very special magical enthrallments at home. There are plenty of others though, to draw us deeply into the enjoyment of our rigs.
Clio,
Are you suggesting, that we use mushroom-paste based filters in our gear? Where would you say can those be implemented? În the ICs or the speaker cables? At the source or the receiving end? Please enlighten and I'll get in touch with retail at Los Tres Rios and will talk to Jack Bybee to go into a joint venture.
