I thought it worth mentioning a couple of things, especially after noting that the Dieter Ott organ was sampled using the Crown SASS mike. The original engineering report on this device, together with a sister article on applications, appeared in the Journal of the Audio Engineering Society, Vol. 38, No. 7/8, 1990 July/August. I built a 'home' version based on this paper with some parts from Radio Shack, and set to recording various ensembles, including Symphony Orchestra with Organ and Choir. I now have the 'real' commercial microphone, Mk II as in the Ott sample project. There are actually two versions of the mic. available - the 'P' with Crown condenser capsules, and the 'B' which is the plastic boundary device, sans capsules, intended for fitting out with B&K small-element condensers. This (far more expensive) option will allow for a much reduced mic. self-noise performance.
The mic's main distinguishing characteristic is its breathtaking imaging, in a wide nearly spherical 'arc' (rear pick-up is intentionally supressed). Another point of special interest to Hauptwerk craftspeople is that it produces a truly mono-compatible signal - unlike many spaced-pair configurations.
Now on antiphonal ranks/divisions - for angles from straight-ahead out to an easy 120 degrees (from personal experience), especially with headphone playback(see below comment on transaural conversion for 2-channel loudspeaker playback), the 2-channel signal exhibits uncanny 3-dimensional 'presence', so for stereo arrays with this type of characteristic I see some hope for success. Also be aware that a 'discreet' stereo array intended to capture a side-hall installed pipe set will not be able to adequately image in playback using 2 speakers placed at the side of the head:
http://www.paradigm.ca/Support/TechFAQ/ ... fusion.pdf
http://www.smr-home-theatre.org/surroun ... _00a.shtml
http://www.audiorevolution.com/equip/tomholman/
OK thats a start, picks up a thread there about noise-cancellation - someone may wish to pursue that further, I know it is a major issue in pipe sampling.
Finally (for now) the transaural principles established by Duane Cooper et al, and commercially available in the Lexicon Processors' "PANORAMA" algorithm, may be a fascinating way of generating 3-D soundfields from a fixed (like at an organ console) position. The smr home theatre website above has a lot to say about the Lexicon circuits and applications. (I have a DC-1 which I am using to re-master some old 2-track recordings to multi-channel). E-magic's Logic Audio (and I presume other audio suites) can manipulate the 'width' of a stereo field, after the fact, reminiscent of the Blumlein technique, although of course the detail is different.
David Greisinger of Lexicon has strong views on the angular location of deep bass signals, and has incorporated the results of his research into programs for the Lexicon processors - see
http://www.smr-group.co.uk/brandes.html
http://www.smr-group.co.uk/pdf/Bass_Enhance_FAQ.pdf
That's plenty for one go - probably raise a few questions. Cheers