For the record, I've only ever performed with my 112 vertical and on the floor. It is plenty clear and 3D that way -- certainly so relative to a conventional cab, particularly from out in the hall -- but not quite as "3D" as the 210 Flex (which, to be fair, has its own separate chamber for the mids, as the Bodai cabs do) and maybe not quite so "3D" as the 46+110 sub (which, to be fair, is a bigger setup).
At any rate, Mike has mentioned that he prefers the sound of his cabs horizontal (native orientation of the Flex and 46, but not of the MAS 112 and similar cabs) and elevated. I think this applies more to some cabs than others (my 112 doesn't seem to need to be elevated, but, given your description of yours with the Faital woofer, I wonder if it might benefit from it) and depends, too, on the space. I think it was more a thing with the earlier Big E cabs (certainly with the very early ones). I recall mention being made, some time back, about how Mike and the Big E guys worked hard to get the waveguides optimized to work their dispersion magic as well in the "vertical" cabs (112, etc.) as in the "horizontal" cabs (46, Flex, etc.).
I did try the 112 horizontally, on the floor (tilted up) and on a chair, years ago, at home -- it did sound different -- perhaps a bit more expansive -- but I don't think that was a very good test for it. Mike did say that if I ever had room on stage I could try it elevated and horizontal (I recall the late Mr. Bear orienting multiple MAS 112s that way in some posts here) and that if I ever played a big outdoor stage I could try it on the floor and tilted up, but I've rarely had that kind of room (or the need) and have been more than happy with it running vertical, amp on top, as usual.
