We feel the reverb. But it is extremely tough to get all this with a live mix. Sure, I would love to record on 24 tracks and fuss with the mix for six months, but that ain't going to happen with today's methods. Whatever the faults, it makes these performances and sound designs sound more real or natural, or musical, if you will. You hear all the instruments as single instrument or line.
Every instrument is spotlighted.
While this is great for some music, this miking method can be detrimental for certain music by Debussy, Ravel, Steiner, or Newman. For example, Max Steiner loved to have a middle range melody played in unison by flute, bassoon with certain articulations by vibraphone. Even though it presented many problems such as having three Bass Drums or three sets of Timpani spread out from far left to far right, it was right for the music. So to conclude this rambling post, we try to let a particular score and its orchestration determine our final decision as to miking technique or placement. Though for consistency, we try to mike an entire suite or score in a similar method and not change mike placements within a Suite.