[...] After long research and testing, we came up with the concept you hear in all our products now: Every instrument is recorded in full stereo insofar that you would be able to produce a "full solo work" with each of them. IOW: You are a listener right in front of a stage with a single performer or ensemble, listening to him/her/them with (hopefully) both ears.
As soon as you place _several_ of them on your virtual stage, you will _of course_ have to collapse this maximum stereo-width (if you are longing for realism). This can go to the extreme: A solo-flute will have almost no intrinsic stereo-information when you listen to it from 20 metres away.
Think of it as an isosceles triangle: The basic angle between "left" and "right" gets smaller and smaller as you move away from the base-line. - This is beautifully visualized in Waves' S1-plugin, BTW.
A final word on the often referred-to "jumping stereo"-image of solo-instruments: This is a completely natural phenomenon you will run into with "real" recordings, too. Due to the laws of acoustics, there are always certain frequency-modes in a room and an instrument itself that will get amplified or lowered in volume, dependent on the relation of the source and the listener. This also happens in a raw mono-recording; it just wouldn't be as obvious, because the result would be just a small change in volume.
Keeping all this in mind, our recording team puts a lot of effort into the search of a well balanced, centered recording position. But there is simply no way to avoid the phenomenon described above completely without sacrificing the main idea: absolutely free placement of any instrument, be it close or far away.