BayTaynt3D, thank you for the kind words, and (maybe the symbol doesn't show up in your browser and/or I'd better go back and make sure I typed it correctly) the angles in my message, such as 45 degrees, are meant to be preceded by a "plus-or-minus" sign. I was talking about the physical angle between the main axes of the two capsules--not what Michael Williams calls the "stereophonic recording angle" (the total arc of pickup which will just fit into the audible angle between your loudspeakers when you play back the recording).
A pair of cardioids at plus-or-minus 45 degrees gives an SRA of 180 degrees, which is far too great for semi-distant music recording. What angle do your speakers present to your ears when you listen at home? If you're as far from them as they are from each other, for example, then they're only "60 degrees apart" for you. If you record a 180-degree SRA and play it back in a 60-degree setup, most of the sound sources will seem to be near the center line of the stereo image.
Just as an interesting contrast, I happened to notice that the Beyer MCE 72 stereo microphone has a pair of cardioid capsules at plus-or-minus 60 degrees.
The situation is even worse--much worse, actually--with most variable-pattern stereo microphones. With only two exceptions (which are no longer made), all such microphones use dual-diaphragm capsules and vary the patterns of those capsules by varying the polarization voltage on their rear diaphragms. This type of construction invariably results in a polar pattern for the cardioid setting (and wide cardioid as well if the mike has that option, as in certain Neumann and AKG models) that becomes broader at low frequencies. So the overlap between channels only increases in the bass--making the overall pickup "more mono" just in the frequency region where you need it to be "more stereo" instead.
I know I'm digressing, but ... people get confused over the "low frequency / localization" thing. It's true that we don't tend to localize low-frequency sound sources sharply; nearly all the cues which let us localize sound sources precisely in a recording are in the midrange and upper midrange. But when the low frequencies are practically mono, the recording lacks a sense of "spaciousness," "envelopment" or "being there." Oddly (or maybe not), the two types of two-mike recording that generally provide that spaciousness the most are the two extreme opposites: Blumlein and spaced omnis.