MS is horrid in a bad room though and since the center channel has to be a very good capture of the instrument in case you lose the side, you typically have to pull the MS setup back a couple of feet in order to have a natural sound that can stand on its own since a typical cardioid has a 60 degree direct field, +/- 30 degrees of axis. Now that’s if you want the full instrument. In denser mixes, anything goes.
XY and ORTF are far more popular, xy being the most. With XY you can bring the mics closer since the direct pickup area is roughly 90 degrees depending on the angle you set the mics up in relation to each other. This will achieve a more direct sound with less room ambiance and capture the whole instrument. Place the xy in mono. If it is too wide once you open it up to stereo, use cubase’s combined panner to narrow it to taste, which is also a parameter you can automate during a mix to close and open the stage in the song during verses and choruses.
I am a big fan of MS too and use it all the time. Just wanted to interject some science and application to conditions.
Lastly, beware of hyper-cardioids if you are a player that “gets into” or moves their body/instrument while playing, especially if you are close micing, as the sound will change, sometimes dramatically, due to its “port window view” of the source.