Just for the record, in most sessions where I assisted another [better] audio engineer, they usually started with an ORTF pair as the primary pair before adding spaced omnis [for room sound] and spot mics to taste. This was usually Orchestral or Choral recordings, where capture of room sound was an important element in the overall sound. [With keyboard recordings, all bets are off]. I did use a pure coincident pair [Neumann SM69] early on, KPFA had one for remote recording of concerts:
One of the cool things about these microphones is they adapted well to the middle-side technique:
Quoting from the Universal Audio website:
"What You Need
While XY recording requires a matched pair of microphones to create a consistent image, M/S recording often uses two completely different mics, or uses similar microphones set to different pickup patterns.
The "Mid" microphone is set up facing the center of the sound source. Typically, this mic would be a cardioid or hypercardioid pattern (although some variations of the technique use an omni or figure-8 pattern). The "Side" mic must be a figure-8 pattern. This mic is aimed 90 degrees off-axis from the sound source. Both mic capsules should be placed as closely as possible, typically one above the other.
How to Do It
The signal from each microphone is then recorded to its own track. However, to hear a proper stereo image when listening to the recording, the tracks need to be matrixed and decoded.
Although you have recorded only two channels of audio (the Mid and Side), the next step is to split the Side signal into two separate channels. This can be done either in your DAW software or hardware mixer by bringing the Side signal up on two channels and reversing the phase of one of them. Pan one side hard left, the other hard right. The resulting two channels represent both sides of what your figure-8 Side mic is hearing.
Now you've got three channels of recorded audio — the Mid center channel and two Side channels — which must be balanced to recreate a stereo image.
Now, if you listen to just the Mid channel, you get a mono signal. Bring up the two side channels and you'll hear a stereo spread. Here's the really cool part — the width of the stereo field can be varied by the amount of Side channel in the mix!
Why It Works
An instrument at dead center (0 degrees) creates a sound that enters the Mid microphone directly on-axis. But that same sound hits the null spot of the Side figure-8 microphone. The resulting signal is sent equally to the left and right mixer buses and speakers, resulting in a centered image. An instrument positioned 45 degrees to the left creates a sound that hits the Mid microphone and one side of the Side figure-8 microphone.
Because the front of the Side mic is facing left, the sound causes a positive polarity. That positive polarity combines with the positive polarity from the Mid mic in the left channel, resulting in an increased level on the left side of the sound field.
Meanwhile, on the right channel of the Side mic, that same signal causes an out-of-phase negative polarity. That negative polarity combines with the Mid mic in the right channel, resulting in a reduced level on the right side. An instrument positioned 45 degrees to the right creates exactly the opposite effect, increasing the signal to the right side while decreasing it to the left.
What's the Advantage?
One of the biggest advantages of M/S recording is flexibility. Since the stereo imaging is directly dependent on the amount of signal coming to the side channels, raising or lowering the ratio of Mid to Side channels will create a wider or narrower stereo field. The result is that you can change the sound of your stereo recording after it's already been recorded, something that would be impossible using the traditional XY microphone recording arrangement.
Try some experimenting with this—listen to just the Mid channel, and you'll hear a direct, monophonic signal. Now lower the level of the Mid channel while raising the two Side channels. As the Side signals increase and the Mid decreases, you'll notice the stereo image gets wider, while the center moves further away. (Removing the Mid channel completely results in a signal that's mostly ambient room sound, with very little directionality — useful for effect, but not much else.) By starting with the direct Mid sound and mixing in the Side channels, you can create just the right stereo imaging for the track.
Another great benefit of M/S miking is that it provides true mono compatibility. Since the two Side channels cancel each other out when you switch the mix to mono, only the center Mid channel remains, giving you a perfect monaural signal. And since the Side channels also contain much of the room ambience, collapsing the mix to mono eliminates that sound, resulting in a more direct mix with increased clarity."
https://www.uaudio.com/blog/mid-side-mic-recording/