I reread the papers I posted above, along with a couple others, and my main take away remains: Align by eye, confirm and tweak by ear (bumping it back and forth a bit by a few ms to confirm the sweet spot) as being a good practical approach.
Not sure how applicable the Room Related Balancing thing is for TS tapers. It's mostly about preserving depth cues present from the main pair (AUD in our case) to present a more convincing illusion of source depth upon playback. That's not especially important or desirable for most TS tapers recording PA amplified performances where a primary intent of mixing in some SBD is increasing the sense of proximity / decreasing the sense of distance from the source in addition to reinforcing clarity and detail.
Thinking back about listening to my recordings and those of others, I can't recall hearing any real sense of depth within the source at PA amplified concerts. There is depth in audience and hall sound which can be good, and the overall sense of distance to the source which is generally best minimized as much as possible, but little if any depth of sources withing the band itself. Of the times I can recall such a perception of depth it was problematic - electric jazz acts in classical halls, not fully PA'd where some performers are clear but others are lost in distant mush, comes to mind. Were I do hear and value a great sense of depth is with non PA amplified acoustic music, particularly classical music in a good hall. Getting a clear sense of front/back depth without loosing too much clarity and detail of the more distant sounding stuff in back is one of my favorite things to get right with an orchestra. Everything on stage sounding equally close and clear just doesn't sound correct or natural for that, it looses a delicious 3-dimensional sense of reality, unlike PA amplified stuff where that is more or less the expected goal of a good AUD/SBD mix and any sense of depth within and between the various sources is derived from effects and reverb.
Regardless, one's listening preference comes first so the align by eye, tweak by ear approach applies either way.
In that light, I take the Room Related Balancing technique to be most useful as a way of understanding what's going on, more than an approach that applies necessarily to the kind of taping most are doing around here.
It might apply in circumstances where upon dialing in the best AUD/SBD balance everything sounds appropriately clear yet otherwise too flat and soundboardy, as a way of retaining that SBD clarity yet gaining some depth. Sort of the opposite of the way in which I generally use SBD as clarity seasoning, yet the way many tapers mix things using more SBD and less AUD.