Orchestral sound is perceived by each of us at each performance from the seat we have purchased, not from the location where the mics are suspended from the ceiling, so acheiving a facsimile of our memory on playback is a work of imagination, not a realistic possibility. Even if your seat is directly below the mics, (which puts you in the front rows of the orchestra seating), you are hearing a different sound than the mics are getting suspended in space away from all boundaries, without the sound dispersing influence of the concertgoers all around you. And that ideal assumes the recording is a live to 2-track, unedited take of the concert using "set and forget" recording levels and spaced omnis or something approximating that.
That said, it's still fun to try, and if you get a result that transports you back to the venue in your mind, you have reason to be a happy audiophile! Whether this system will be an equally effective "time/space transport apparatus" for other genres of music is another question altogether. It's always been my belief that the true measure of a system's "faithfulness" is its ability to expose the recording as it is, not to sound like you think it should.
That said, it's still fun to try, and if you get a result that transports you back to the venue in your mind, you have reason to be a happy audiophile! Whether this system will be an equally effective "time/space transport apparatus" for other genres of music is another question altogether. It's always been my belief that the true measure of a system's "faithfulness" is its ability to expose the recording as it is, not to sound like you think it should.