When I was interviewing Decca recording engineers for my Decca book back in 2013 and 2014, they said that the best thing about changing to digital recording was the ease of editing. One of them told me that he could hear in the LP every edit he did on every recording he engineered. If you buy or see a pro tape machine that came out of a recording studio, you can usually see all the marks from the razor blade cuts on the splicing blocks. Decca was a bit unusual in that when recording with multiple mikes which fed a multichannel mixer, they would mix the tracks onto the 2 track tape machine in real time, so that they did not have a 16 or 24 track tape that they would later remix (highlighting the flute or french horn for example). What you got in the recording studio the day of the session was the product of that day's work. Obviously this was for classical recordings, so there is a real sense of instruments in a real space in the finished recording.
Quick story about edits. When Alicia de Larrocha, the famed Spanish pianist was being recorded in a London area studio by Decca, they finished the session, with all the various takes, and Alicia went back to Spain. When they played back the tapes to choose the best takes for the final master tape, they discovered she had missed a note in one of the pieces, and they did not have a backup take that covered the error. So they packed up all their recording equipment and went back to the studio, this time without Alicia. However, one of the engineers was a competent pianist and they had him play that note every way they could think of. They did get a good match and that note was the one they edited into the final master tape. The engineer, of course, didn't get credit in the album for his one note contribution.
Larry