Right on! Let me know how it goes.
Last week for Greensky Blugrass I ran an OMT4 arrangement I like to use in indoor rooms which don't have great overall acoustics. It consisted of two Microtech Gefell M210 supercards in PAS (inclusive angle of about 60 degrees total pointed at the outside edge of PA) spaced about 20-22" apart (a guess, need to double check that measurement), plus a center Mid/Side pair consisting of Gefell M94/296 cardioid Mid + Naiant X8S fig-8 Side, with all four mics running directly into an OCM R-44.
It was fun to get the MGs out again, partly because they are my reference cardioids and supercards and it's good to revisit using them on occasion instead of simply running the DPA based OMT8 rig all the time, originally worked up through use of the MGs. I was immediately reminded how much more of a hassle it is to setup an array at the show in the traditional way - attaching mics and running cables from all four mics to recorder, rather than carrying in everything pre-rigged and ready to pop-up and roll. Always good when I do though.
Good times taping with TS fellows Spyder 9 (local), along with Dalman and One Cylinder, both visiting from out of town. The others ran high, extending above sight-lines of the soundboard and main floor. Lacking long enough extensions to do the same, I ran a few feet over head-height from the floor, clamped to the angled handrail of a staircase blocked at the top by the soundboard, under the sight-lines of soundboard and folks on the main floor. That's tricky but does get the mics out into the room a bit more. I used a folding light-stand foot attached upside down to the clamped extension as mic-bar, each leg of which I drilled and tapped long ago so that I could attach mic clips at the ends. That places the mics in a triangular formation, and I generally use this right-side-up on the stage floor as a small triangular Decca Tree arrangement, but its a nice option to be able to flip it over for use aloft as a 3-way mic-bar when necessary.
Given the narrow PAS angle in combination with the center pair, I'd actually prefer more horizontal spacing between the PAS mics, and the center pair somewhat less far forward of the PAS pair. However as it is, I figure the somewhat greater front/back spacing may help compensate somewhat for the narrower than optimal horizontal spacing with regards to achieving a bit more decorrelation of the diffuse/reberberant content across the three microphone positions. Seeing that the center pair position is about one foot forward of the PAS pair, I might try delaying the center pair by a millisecond and see if it makes any audible difference. Doing that should better align phase between channels with respect to correlated direct-arriving sound from the PA/Stage, while further decorrelating the diffuse/reverberate field stuff at tad. However, listening back to playback on the R44 it seemed to work pretty well as is.
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