:clap:Back on topic, I think the Grimethorpe formation seems to be the best compromise solution to performance. The overlapping lines of flugel/horns and euph/baris between basses/troms and cornets angled slightly inwards seems to cancel out most problem areas. The flugel playing into the ensemble stops any chance of glare (and contraptions to soften it, e.g., polystyrene boards hooked in front of bell) and brings the horns more into open space (not being drawn into the bass sound). Baris/Euphs are in contact with basses and horns and that, to me, is a good compromise for most variations in compositional/arranging styles. Bass trom has to be carefully placed to avoid this projection glare as well. Facing towards the principal cornet can create unnecessary balance problems, with the sound cutting through the band. My tuppence worth!
Did not understand a word of it but it sounds very clever. I must remember to stick some polystyrene over my bell end at the next concert - so as to bring the horns more into open space?