I missed this comp when it was original posted. Excellent job! Ah, the lure of on stage and stage lip recording; how they make even excellent PA recordings sound like crap.
I have owned all of those mics at the same time, except the mk22's.
It reminds me why I have my mg200's, V3, and mk21's, and the conflict that arises whenever I think of selling any one of those. The clarity, detail and soundstage of the v3 really shines on stage or stage lip. We could quibble about patterns; for the mk21's especially, I would have leaned toward NOS or splitting them (2 or 3 feet, depending on stage config, etc). It's also a great reminder of why people "bother" with full bodied mg200's.
While the mk21's do have more low end, that isn't their primary attraction for me. The big draw is their more natural and realistic presentation (especially split outdoors). I can't get that with any card or hyper. Of course there are a lot of indoor situations where the subcard pattern produces a result that isn't sufficiently crisp.
On a somewhat different topic, I'm curious how much gain was added on the v3, and on the r44 recordings. On-stage is typically loud, so I assume not much. There have been some recent posts suggesting pre-amps are not sonically necessary with modern recorders, that they don't add anything; that adding gain at the recorder is just as good. While that is not the focus of this comp, the result does hint at why many of us "bother" with pre-amps despite having recorders with specs that look entirely adequate.