I agree you will not hear the nuances of constant sound variations in a string section(s) when there is a full orchestral ensemble winding it's way up. You will, however, hear it only too clearly when the sampled strings are exposed - especially when it's legato style lines being played. This has always been the bane of sample libraries - the strings exposed, especially in the higher registers - and this is why good purveyors of sampled music do all they can to hide this fact through 'other' orchestration - which in itself leads to the subject of pieces of music being written to the strengths of the sample library and not the other way round.
Jay's magnificent effort dilutes quite a large part of this argument, but I could go on to say that on the other side of the coin, in other words when actually trying to write an original piece - it becomes far more difficult in my view, to utilize enormous amounts of available sampled articulations, than when doing it with something already written as in The Rite for example, whereby the articulations are more or less written in tablets of stone based on the A/B ing of one's favourite Rite recording.