for each inversion of a minor arpeggio, including the root pos., there are exactly 2 diminished arpeggios. Is that just a coincidence or is there something im overlooking?

?

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maybe i can put an audio clip of it on here or something..

Feel free to post a tabbed example.

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I believe he's talking about a triad and its inversions. For example a Cm triad and it's inversions are:

E|-----|-----|-----|
B|-----|-----|--4--|
G|-----|--5--|--5--|
D|--5--|--5--|--5--|
A|--6--|--6--|-----|
E|--8--|-----|-----|
...Cm....CmI...CmII

A Cm chord/triad/arpeggio would have the notes C Eb G (1 m3 5)
It's first inversion would have the notes Eb G C (1 3 6)
It's second inversion would have the notes G C Eb (1 4 b6)

As you can plainly see there is no b5 or diminished interval. There is however a b6 which is also known as the augmented interval. You can also see this when playing the C minor arpeggios through is various inversions. i.e.

e|----------11h15p11----------|
B|--------13--------13--------|
G|------12------------12------|
D|----13----------------13----|
A|--15--------------------15--|
E|----------------------------|

There is however in the diminished scale a repeating minor arpeggios pattern. It is every three frets, which is another reason why the Diminished Scale is also a symmetrical scale much like the Augmented.

In the diminished scale where ever you play a minor you can also play a major arpeggio and still be within the "confines" of the scale. That is, still be playing diatonically.

Or am I totally missing what your trying to say?

Sounds good to me.

I always notice when flying around minor arpeggios and their inversion, I usually end up playing a diminished arpeggio, but I think that's due to the m3rd.

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Well, it's not only a minor third which makes a diminished arpeggios what it is. It's the b5 that really makes it a diminished arpeggios. It's what sets the diminished apart from the minor. If it wasn't for that b5 it could be considered a minor.