I don't think there's a right or wrong answer here, but I suspect the closest might be gamey (or, yes, gamy) - as Star-Lord would say, a bit of both.
We need to know what the detective sees and smells at the crime scene. We may be interested in the textures of that sex scene, or even the tastes (although the smells, I suspect, not so much). And if your character is cracking up in the city street, those sounds - or missing sounds - are going to be pivotal. But if it's not the point of the scene, do we really need to share the full-on, piquant, throbbing, sensory experience? Primary school teachers says yes. Creative writing tutors, no.
To the rescue, once again, comes a writing challenge from Chris Fielden's website, this one called Allen's Sensory Overload Challenge. As the name makes plain, it's an opportunity to overdo the sensations and, in the process, to highlight where you might need to exercise more restraint in your 'proper' writing. Or not. Give it a go - it's free and in a good cause. My contribution is Story 065.
This is a great challenge. 75 words (including the title) - it can be a piece of flash fiction, the opening of a novel or whatever you like, as long as it stands up as a story.
To my mind, with such a limited word count, I reckon the thing to aim for is to suggest that there's a bigger story going on beyond that one paragraph, without looking like you've tried to cram one in. But that's just my interpretation.
Check out Paragraph Planet. They've published my story Seventy-Six today.
I've been writing for as long as I can remember (I think my first letter was a P). I got a degree writing about other people's writing and ever since then I've earned a living writing commercially, one way or another. But I never stopped writing and refining my own stuff. I just didn't do anything with it, until now.