Interesting info on the Meyer EQ unit. Chris.
Roving Sign proposed using a (hardware) crossover to divide the spectrum before recording it. I'm proposing doing that in post in a DAW where you could also tweak phase/time alignment, eq, etc. if needed like in the big dollar prosound units you describe. No guarantee that you won't bastardize the signal and make it worse than it was of course, but the option is there without committing to it in advance.
I'm somewhat familiar with the electronic crossovers and speaker management systems you mention: the stuff on the sound reinforcement side like the DBX driverack, BSS, Ashly, Rane, big dollar Meyer stuff etc.. the audiophileish tubed Marchand, DEQX, Tact.. I'm sure there are others aimed at studio monitors and mastering houses.. and the cheap Behringer DCX2496 unit that lots of DIY speaker builders use to tweak crossover designs or run multiway active speakers with separate amplification for each driver with phase, time alignment, eq's, high order asymmetric x-over slopes, etc. I almost bought one to play with active multi-amping some old infinity speakers I've got. I'm sure you get what you pay for and Moore's law marches steadily on..
All that's the practical side. Thoughts on the theory, assuming you've got the right tools to do the job?
Here's the important question buried in my post above:
- What about using the time based spaced technique to record the low frequencies (spaced omnis), and the level based technique for the high frequencies (coincident directional mics)?..
-[edited for bad typin']