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I've found differing degrees of drift from various devices, all compared to my cameras. I've synced up audio from my H5 and UI24R, Mackie DL16S, Behringer X32 etc.

If the devices could be connected via SMPTE or ADAT, it might be possible to clock one off the other.

If they're recorded on separate devices, there's a good chance they'll drift. The question is how long before it's noticeable. I generally record video of live shows, so sets of around an hour. My Zoom H5 seems to match my cameras pretty well over that time. If I record on my Soundcraft UI24R...

Turn the other tracks down and your headphones up. All your levels should be well away from 0 dBFS throughout the recording and mixing process. The time to get the final level is when you're mastering.

It might. Optimal is somewhere between maximum and minimum speeds, I suspect not too far below maximum.

The slowest speed isn't necessarily the best speed. As dyes got tuned for higher maximum speeds, the optimum speed increased. I would go two or three steps below the maximum.

I've had some decent results placing the mics on the back, 2 PZMs on the wall about a meter off the floor and about 60 cm apart, with the piano about 30 cm out from the wall.

Is the noise the same when near a powered up wall wart or fluorescent light?

Are you sure it doesn't happen automatically?

In addition to the above advice, try burning at different speeds.

This is like asking for directions to the store. Which store and where are you starting from? The mic model and style of music isn't enough information.

I have not experienced a situation where there was an audible difference between recording separate tracks and recording a single stereo track. The main difference is in how you process them after recording. A single stereo track saves having to create a bus to apply effects to both at once, but...

A concert stage also has depth. I work in a theater (mostly plays, but also the occasional musical act) with a stage that's about 30' wide between the wings and 20' to the back curtain.

Well, at least in the case of guitar pickups, they alter the tone a bit just by being part of the circuit.

I also don't do green screen (I do actual live videos), but I think you need to light the screen in addition to lighting yourselves.

How far can you get from your 25' wall? You will need to do some calculation to find a lens that will cover it. If the distance is too small, it's going to be an odd perspective. The versions of you that are toward the edge will be angled away unless you angle "everyone" in a bit to compensate...

Get closer to the mic. Put the pop screen within an inch of the grille and your lips practically touching the screen. Adjust the gain so the signal stays well clear of clipping. This will tend to accentuate the lows, but eq can compensate. If the mic has a high pass filter, engage it. [Edit]...

Since the voice coil is behaving like antenna, you give it a twin nearby (which is not capturing any sound) and wire it in with reverse polarity. It's virtually the same idea as balanced connections.

A humbucking coil generally needs to be close to the coil that it's protecting from interference. I have an Electro-Voice 635a that has a coil around the outside of the capsule (which is unfortunately coming unwound).

I don't have one of those, but I understand that you can export a .wav file to a partition on the SD card.