I'm a member of an Ampex forum, you might find this comment, from another member interesting:
"As one who has made records at both extremes (Bill Evans to the
Circle Jerks) I've come to the conclusion that records are a cartoon
of reality anyway. Nothing, for instance, can beat sitting in the
first row at Jazz at Pearl's in SF on a Monday night right in front
of the sax section of a 20 piece big band. And I've recorded live in
that same venue several times. So I don't try to achieve exact
reality, but a sort of bigger-than-reality that will get beyond the
speakers; this is the goal of most mixers who want to make their
clients and public happy. And Stereo is a big part of that.
As soon as I got my hands on 16 track recording in 1969 (on a
MM1000), I began experimenting with stereo vocal tracks and
instruments, culminating in 1970's 'If I Could Only Remember My Name'
with David Crosby. I recorded many stereo acoustic guitar tracks with
two mics, and either used them to make a bigger space (helpful when
there was no more accompaniment) or to give me coverage on the guitar
Funny thing about that album; I never sought out to make a hi-fi
record, just a good sounding one. I didn't cut back on the EQ or
compression-indeed some of it was absolutely bright and squashy. Yet
The Absolute Sound has put it on a list of all-time best records.
And of course, we had Ampexes to record it all!