Glad to help. The key to effective shock-mounting is achieving a reasonable match between the springiness/compliance of the suspension and the weight/mass of whatever is being suspended. For very light microphones that are shock-mounted individually, one can add weight which is suspended along with the microphone to load the suspension so that the decoupling becomes is effective. That helps in a pinch, but is unwieldy so it generally works better to shift to suspending the mic-bar along with a pair of lightweight mics.
With a large bar such as the nice looking
t.bone StereoBar 1 Pro Voltronic linked above supporting micrphones of typical weight (not super small and lightweight) typical individual suspensions along the bar for each microphone are the most straight forward and easiest approach. If trying to shock mount such a large and relatively heavy mic bar along with microphones rigidly attached to it, a larger and relatively more stiff suspension would need to be used. This is the opposite problem from trying to individually shock-mount tiny lightweight microphones that don't have enough mass to effectively load the suspension on their own. AEA used to make a big heavy-duty stand decoupler for use with large arrays like a Decca tree that they referred to as a "floater". I searched for but can no longer find it nor a photo of one. I'm in search of something like it myself for use between my multichannel microphone array contraption and its mounting stud that fits into the top of a mic-stand, clamp or support arm. I don't need something as heavy duty as the big HD AEA Floater, so I'm thinking something like this:
The Hook Studios Large Size MD-175-70 Mechanical Decoupler -
https://thehookstudios.com/filters.html, or this
Neumann decoupler -
https://en-de.neumann.com/z-26-mt might work effectively while being sufficiently compact and streamlined aloft for me. Otherwise I might build something myself using some Sorbathane samples I have on hand. Of the 8 microphones I have in the array, 6 will benefit from improved decoupling, but they are tiny and weigh almost nothing, plus I'd much rather achieve it using a single compliant element.
^This information should actually be over in the shock mount thread. I'll double post it there for posterity.
I'm reading through the reviews, and some people are complaining about the angle and distance markings being inconsistent.
If that's not a quality control issue, it may be due to this- The spacing indicated on the bar will no longer reflect the exact spacing between microphones if they are angled away from (or towards) each other unless the microphone diaphragms are positioned directly above the pivot point of the mounts, More typically the microphone bodies extend forward of the pivots so that as the mics are angled the actual spacing between diaphragms is increased (or decreased) somewhat by that offset. Same applies to the Grace Spacebar, of which the t.bone StereoBar appears to be a clone, and another bars that includes spacing indications.