As you've probably guessed, adding flats to existing scales isn't exactly the "standard" approach to constructing/discovering new scales. But as a teacher, I really like it when students explore theory through experimentation, because there are patterns in music. Often, repeating a somewhat arbitrary pattern enables you to "derive" existing musical devices in a new way. You've chanced upon many interesting sounds here, and while some of the scales you've mentioned are more obscure than others, most of them are equivalent to named scales and can be derived by other means. I will focus on supplying you with those names (the ones I know, at least) and suggesting how some of these scales can be applied to modern functional harmony.
For starters, recall that the C superlocrian scale can also be called the C altered scale or the C diminished whole-tone scale. The former name comes from the fact that the scale contains a C dominant chord with all the alterations: C7♭9♯9♯11♭13, or simply C7alt. The latter name comes from viewing it as the concatenation of a diminished scale (WHWHWHWH, 8 notes per octave) and a whole-tone scale (WWWWWW, 6 notes per octave). The altered scale can also be viewed as the seventh mode of the melodic minor. In this case, the C altered scale is (enharmonically) equivalent to the C♯ harmonic minor scale.
So, we have four names for this scale, which amount to four different derivations of it, all of which are valid and can help explain its characteristics and functional properties in their own way. In my opinion, the name "superlocrian" is actually the least descriptive of the four, because (to my knowledge) we don't use labels like sublydian, superaeolian, or what have you to refer to other scales. But it's worth knowing, even if only to inspire theoretical exercises like the one you've undertaken here.
By the same token, your first two scales
If you start with C Super Locrian, flattening the root creates B major.
If you start with C Locrian, flattening the root creates B Lydian.
amount to alternative derivations of known modes, as you have already identified.
If you start with C Phrygian, flattening the root creates B Super-Lydian aka B Lydian augmented.
I would argue that the simplest name for this is the third mode of the G♯ melodic minor scale. This could therefore be used over G7alt, Bmaj7♯5, or any other chord derived from the melodic minor.
If you start with C Aeolian (C Minor), flattening the root creates a scale with the intervals 3H-H-W-W-H-W-H.
I would call this the sixth mode of the E♭ harmonic major scale. Its most common use case will be in the key of E♭ major, when you have a minor IV chord, especially A♭min(maj7). It could also be used over B♭7♭9 and D°7, both of which have dominant functions in the key of E♭ major, or over dominant chords like G7♭9 in a C minor context.
(There's nothing intrinsically wrong with an augmented second in a scale. We have one between the ♭6 and ♮7 in the harmonic minor scale with no issue. In freshman theory, you are often taught to avoid having a single voice sing a step of an augmented second because it's hard to land in tune. But this can be accomplished by choosing good voicings and doesn't preclude the use of the harmonic minor scale itself.)
If you start with C Dorian, flattening the root creates a scale with the intervals 3H-H-W-W-W-H-H. B Triple-Super-Lydian? It sounds similar to the previous one.
Now we're getting into more obscure territory. I would say the unusual thing about this scale is, rather than the presence of the augmented second, the presence of two half steps in a row (between the notes A, B♭, and C♭). While I don't have a name for it, this is the scale I would play over the chord B♭maj7♭9. That is a highly unusual chord, but it can have a dominant function in an E♭ blues tonality when used with care. I wrote about the maj7♭9 sound here, if you're interested.
Next, C Mixolydian. Flatten the C and we get the intervals 3H-W-H-W-W-H-H. Quadruple-Super-Lydian?
Wow! I've got no dice here. But my impression of this scale is that it looks a lot like D dorian with the seventh omitted and passing tone inserted between the fifth and sixth degrees. I would most likely play this over a Dmin6 chord, or perhaps Bmin7♭5, where C is an "avoid" note.
As a general comment, I think you'd find it worthwhile to explore the chord qualities associated with the modes of the melodic and harmonic minor scales. There are many interesting sounds there, some of which appear in the scales you've derived in your question.
