Try it yourselves! We can do our own listening tests and reach our own conclusions, based on our specific gear, playback system, ears and brains. No data beats your own, generated with your own equipment using your own mics, setup, playback and ears. It doesn't have to be anything fancy, and I've learned so much myself from doing this.
If have the time to do so and as long as it's not going to freak out onlookers too much, I'll frequently do a quick "walk around test" recording of my recording setup, before or after making the intended recording, but as setup in that location. It's the same thing Alan Blumlein did in test recordings made with his stereo recording and playback systems in the 1930s- Walk all the way around the microphone setup in a circle while calling out the numbers of the clock, starting from directly in front and going clockwise all the way around until reaching the front again. For good consistency, walk a big enough circle so that you aren't overly close to the mics (keep something like at least 10 feet away or more if possible), try to maintain an equal distance from the mics all the way around, speak directly towards the mics at each position, keep the clock-geometry announcements reasonably accurate (9:00 @ 90 degrees lift, not closer to 8:00 or 10:00) and try to keep the timing between positions and announcements even as you work your way around. To provide a secondary stimulus signal significantly different than my voice, loud and clear enough to make it easy to hear on the recording even in a noisy post-concert environment, I keep a dog clicker in the recording bag and click it just before calling out the number of each position.
As a side bonus, this quick odd-looking 30 second or so walk around announcement test sometimes provides great entertainment to bewildered onlookers, as a number of members here I've taped with can relate.
Once home, listening to that short test recording provides loads of useful feedback about the behavior of the microphone array, as well as about the particularities of the recording environment. Listen for the apparent playback location as the numbers are called out from various positions around the array. Listen to how the imaging works as one moves around the circle from point to point. Listen for differences in sharp versus diffuse image positioning for the various locations around the mic array. Listen for how even or how stretched/squashed the apparent distance is between each position is across the soundstage. In addition to the source localization and imaging aspects, listen for differences in pickup sensitivity as the sound source is moved around the mic array, as well as differences in clarity, timbre, apparent source distance, reverberance, etc. Listen on speakers and on headphones and compare the two. Compare various mic setups and various combinations of mics in multi-microphone arrays. It's great taper geek fun, both entertaining and highly enlightening.
I've never plotted out my own listening data on a graph or anything like that, but doing this had provided a fantastic real-world sense of how all this stuff works in terms of what I actually hear. I started doing this for my own edification when I was recording using typical two channel setups years ago, and it became even more valuable to me when I moved to multi-microphone 2-channel stereo and multichannel surround recording arrays.