The soundstage is enormous, although if the recording is poorly panned and the reverb not that great, it only goes a little way beyond the speakers. On the other hand ... if the reverb is natural, or classic EMT plate from the Seventies and Eighties, or good-quality modern, the whole front half of the room lights up. Not "bathtub reverb", but a sense of air and space.
This takes many first-time Revelation Series listeners by surprise, but it’s not a surprise for me ... preserving very quiet, slightly delayed signals is essential for a spatial impression. My entry into the world of high-end audio was the Shadow Vector Quadraphonic Decoder in 1974, one of the first dynamic decoders to preserve spatial cues. That’s still a focus that I have, some fifty years later.
A key design principle of the Revelation Series is a straight-through signal path with no secondary delays or "helper" circuits. Just wires, transformers, and triodes. Distortion reduction is accomplished through signal balance, not feedback.