I think most folks have their mind set on what "in the room" means. I gave up on embroiling myself in the suppositions and often erroneous description folk use for tone and the live "experience".
"Moving air" is but one thing to one person and quite different to another. I am inclined to think folks usually mean the experience of hearing multiple reflections from different directions in a closed space such as a room or hall, etc. The reflective surfaces add to the different tonality depending on the nature of the surfaces in the space. Nice spaces are enhancing to a performance, problematic spaces tend to get ugly results that get uglier the louder the performance gets. Our ears coupled with our brain is quite amazing in making us aware of the size of the space and the comparisons that we have learned over time that allow us to make very accurate determinations of the size and other feature of the space we are performing in.
Placing mics at multiple distances and/or heights is done a great deal... problem is the room has to be "cooperative", the mics well selected, the skill of the mixing well though out. It's a lot harder than one might presume.
The shorter, cheaper, and more manageable route lead to reverb or echo chambers which were/are real spaces with essentially a speaker at one position and mics at differing distance or distances from the speakers... also tape machines with multiple movable playback heard, spring reverbs, plates, etc. Algorhythm based reverbs have been and still are in use. Many of the settings on digital reverbs are meant to reproduce some of the chamber, spring, or plate devices.. they also are designed to simulate actual smaller or larger spaces.
If one wants to have their Kemper and amp/speaker or FRFR sound like an amp in the room, the room is going to matter. The volume being employed will matter... The room will still be a factor.
If what folks really mean by moving air is multi-directional experience of the performance? That usually means LOUD and not multi miced profiles. Real high volume in an actual space. More than enough to generate lots of reflections coming to the listener.
I will share what I see as the best solution, First and formost is using whatever monitoring in STEREO.
Listening to stereo reproduction is light years more convincing or 3 dimensional space than mono. Delay or reverb which is stereo is the ticket. Want a room of you choice to "play" in? Use a reverb which is good at it. The Kemper has a decent stereo verb. It is not abundant in room choices which can be dialed up quickly, but actual room are what they are unless someones is opening and closing curtains and add or subtracting materials which alter reflections.
There are lots of players who do a good deal of live work and firmly believe stereo sound system use is silly or not good for an audience. Well, they are WRONG. Stereo does not mean the use of radical panning.
Stereo reproduction is light years more convincing in regards to the illusion of experiencing 3 dimensional space than mono. Surround is the next level but the expense and logistics make it over the top practicality wise.
At the very least, take a hard look at using a room reverb, even in mono there is some degree of dimensionality to be gained. The more convincing the reverb used and adding it as a part of a stereo reproduction or captured recording, the more "in the room" you can have at you disposal.