I think there is a bit of muddle here -- not you
@Ailitar but the overall question. If you have Shawn Murphy or Dennis Sands on the job, most likely it's a live orchestra, so my comments are in that context:
1.
Already some "room" around the recording -- Most/all projects that would involve an engineer like Dennis Sands are also going to be comprised predominantly of live players recorded in a rather large space. Therefore, the "audio location" of the instruments is already decided, to a significant extent. You already have the piano / oboe / French Horns located somewhere in the hall / studio, so the engineer already has chosen where that sound sits. You can arrange the orchestra in non-traditional seating and you can record each section separately. Nevertheless, it doesn't happen accidentally or haphazardly -- the engineer seats the French Horns in one spot, the cellos in another - intentionally. Even if you're doing something non-traditional, you make a lot of choices about location with the initial recording setup.
2.
Don't Fight Too Hard Against the Sound (unless it's intentional) -- Each studio player has an instrument that can cost many, many thousands. Each player has worked for many years, often decades, to master the technique and sound of his or her instrument. Engineers like Dennis S. have decades of experience choosing and placing microphones, working the board, and paying attention to the way sounds interact -- how they reflect off the back wall, how much space it takes for the brass to do that "bloom" they do, how much isolation / baffling they want. They already have decided so many things, and they generally know what you want from listening to your demos or hearing the first pass. It is common for the engineer to adjust mic positioning early in the session to refine it.
Plus it's probably at least 5.1
Shawn Murphy Doesn't Work at My House
So what I'm getting at is that comments from Dennis, Shawn Murphy or any other engineer like that need to be considered in the context of how those guys work, and the kinds of projects they tackle. If you are hiring someone like that it's usually a rather big budget and you're not relying solely on your "Killer StringZ" library to play the main theme.
Naturally, individual tracks recorded at composers' studios often make their way into final productions. However, if you're talking about the orchestra, typically it's live and the live elements will be dominant.