A spaced pair is less dependent upon the musicians staying static location. Also, I never used to record rock productions in "stereo" per se. The "spaced pair" was often used to pick up crowd noise/cheering because very little crowd gets into the performers microphones if set up properly.
Are you, perhaps, speaking of a pair of drum kit overheads?
Jack's response may be thinking of something else? ("...spaced pair is less dependent upon the musicians staying static location", "record rock productions in "stereo", "used to pick up crowd noise/cheering..."
You wrote "...almost every concert", "...club gigs to stadiums".
I can't imagine that nearly all the events you were at were recording and had a couple "crowd/ambiance mics". So, I'm guessing drum overheads?
I think Jackattack was referring to a rock gig as well. It makes sense to me. A coincident pair would require atlas stands if you wanted them to be out of the way enough not to block view of the drummer or get in his way. Too much. I don't know if people mic a concert in stereo these days. Especially in a club, there's no real point in it unless they are recording the performance.
yeah i meant on OH's on drums. I figured it had something to do w/ visibility of the drummer. and i don't picture an average road crew lugging around a $300 stand. thanks for shedding some light on this!!!!!!
Speaking for myself, I'd rather have a mic that is as isolated on the ride cymbal as possible vs. the rest of the crash(es) and splash(es). Having a good clear ride cymbal sound is more important to me than the more perfect stereo image I might get from an X/Y. And again speaking for myself, in most cases I'll usually position the ride side overhead lower than the other side - since the ride cymbals (and floor toms) themselves are also mounted lower. Even for a live show, I favor a set-up that's a lot like the 3 mic set-up for recording drums (with the addition of the tom & snare mics for good measure).