Ha, ah yes. I played an Amati, circa 1690, not a Strad, but the experience was eye opening. Professionally speaking, this is a complex question. Many orchestral musicians would not like a strad, as, like with the Amati, under the ear the sound is small. It however develops 20 feet away into the glorious experience we all know. In a string quartet they are heaven. Alone they are heaven. As a soloist, they are incomparable. But in a section, they are drowned out easily by other makers. That is not to say a section of only strads would not be fantastic, it would. But the pure quality of it is lost in a modern section. Muddied if you will.
One of the most instructive concerts I went to when I was young was cello/piano with Lynn Harrell (former princ cello of Cleveland, a monster American cellist). For the first half I sat in the balcony in the back of Kennedy Center. For the second half I snuck up to within a few rows of him.
In the balcony, the sound was pure gold--indescribably beautiful. (He was playing a Gofriller cello, contemporary of Strad) Up close it was like a tornado, a storm of surface noise, a freight train. Just awesomely powerful, take no prisoners, killer cello playing. He knew that that would all filter out where it mattered--the vast areas of the auditorium. Rostropovich was the same...but actually more refined up close. I also heard him close and far many times, and his power was unmatched by any other player, except Harrell perhaps. To me it is a very interesting subject...maybe not so to most others.