There are numerous ways to go about it and no single correct answer which is partly what makes this kind of thing challenging, fun, and a reflection of your personal approach embodying what you value in a good recording. We can discuss tradeoffs between possible setups, but to start I can offer suggestions on what I'd do, which would be to keep things relatively simple and probably do a variation on spaced omnis.
The Behringers and Marshalls are cardioid only, right?
Can you put up more than one stand?
Consider three stands in a line across the front if you can manage it. That classic setup allows for a lot of leeway for various arrangements of musicians and works well if you have a large ensemble and very little space between the font rows of players and the edge of the stage. I'd put one of the cardioids in the center, angled down towards a point about 2/3rds of the way back in the middle of the group, and the 414's in omni mode placed ~4'-6' to either side, flanking the center mic. That's probably all that’s necessary if you want to keep it simple. Mix it to two-channel stereo by bringing up the Left/Right omnis first, pan the center card to middle and bring it up until you get an even balance across the entire playback image. You can EQ them separately if necessary and so inclined, but don’t worry if the cardioid bottom end response rolls off, the omnis will make up for it and trying to bring up the low end on the center mic may simply confuse things needlessly.
If you have the time and inclination to make use of your ‘extra’ 4th channel, you could use another cardioid as a spot mic for soloists up front (probably unnecessary), for a particularly weak instrument or section that is not well represented (more likely), or as a room ambience / audience reaction mic facing away from the stage and out into the room so as to pick up as little direct stage sound compared to ambient room sound as possible, while still being in relative close proximity to the other mics so there isn’t a delay problem (I like doing that to gain fine control over the direct/ambient balance, and if I have that ‘extra’ channel I almost always find my resulting mix is better with some degree of that added in there, but most people around here will probably think that a waste or somewhat strange).
Absorb the suggestions you get here, take from them whatever sounds reasonable and doable, then do your own thing to put your own mark on it. Should be a fun one.