Nice! Will give a listen later.
In general, to tame DPA 4060s when necessary try a parametric EQ centered around 12kHz with Q and cut adjusted to suit. That tends to correct for the peak in response without throwing as much of a blanket over everything. Might need to do that in combination with a shelf filter further adjusting general treble response. Other thing you can do is to use them without any grid installed in situations where you think they might sound bright.
I suspect you probably don't need the omnis in the mix, but you never know for sure until afterward, and having them there makes for a good for comparison. Setup like that with the same spacing as the CMC112 pair, the 4060's look to be nicely protected, and it provides a good opportunity to compare those two pairs in isolation, as well as compare X/Y center + omnis against X/Y center + CMC122 pair.
Ordinarily if I were intending to use the omnis in the mix with the other two other pairs I'd either space the omnis considerably farther apart - say 60" or so, which helps when sources are widely distributed across the stage or moving around like the trumpet - or I'd tape them to the vertical surface just under the stage-lip facing out at the audience so that they stage lip acts as a baffle between them and the sound coming from on stage. The second option provides a greater degree of mixdown control over direct/reverberant balance and some control over the band/audience balance, due to the directional mics above the lip providing maximal pickup of the band and reduced pickup of the audience and room, while the omnis under the lip do the opposite. Also, when used that way under the lip the omnis don't need to be spaced as far apart as they do when up on stage with the other mics.
