That's a great synopsis.
To which I'll add a bit of specific usage context, which is that most stealth configurations are variations on baffled stereo configs, rather than A-B in free space, in which the attribute of the miniatures having fully omnidirectional high-frequency in free space tends to be useful, particularly for music such as classical which benefits greatly from good translation of the reverberant and ambient room sound, recognizing perhaps ironically that the resulting stealth stereo microphone configurations end up producing polar sensitivity patterns that are far more directional than any of these omnis will be when used in free space.
The art of using the native "full-omniness" to advantage is very much tied to the particulars of how the recording arrangement is configured. I find the super-omniness of the miniatures advantageous in non-traditional configurations, partly because I can modify it to make it considerably more directional as desired, which is essentially unavoidable in most stealth arrangements anyway.
Voltronic's very nice 4061 examples were recorded with the pair of microphones in free space, A-B on a stand above the stage, and therefore do represent a situation where the directional differences between omnis of differing size and thus polar-sensitivities will be most apparent. Yet by that measure those recordings are less representative of typical stealth configurations using the same microphones. However, listening to them again last night I was struck by how similar they sound to my own stealth usage of 4060 for classical music. Granted I use an unusual configuration of four of them, with each microphone baffled and thus "made quite strongly directional" in it's cardinal direction, yet which in aggregate provide a collective sensitivity pattern that can be fully omnidirectional, and are in that way similar to Voltronic's examples.
Point being, a primary factor on which microphone is right for you will be how you plan to use them.