OK,... Still wobbly. To step back a bit in the conversation,,... a question. How far is this physical front to rearward offset measurement between the mics used in the comb filtering example that you're referring to? I ask this, as I've had a couple of nice successes lately in having a pair of omnis up at the stage lip, outward from the conductors spot by 6'+ or so, and a pair of directional mics back a way from them by another 6' deep. So there is quite a bit of distance in depth between the mics, outward from the sound impulse. Technically, thats a fair amount of depth between the track sources, and technically should cause issues by what I've read here. And by the book of Confusing Audio Physics, should be rife with problems. But the combination yielded a nice combination of direct sound, and a fullness of ambience. Everything was well placed in playback imagery, and no audible negative phasing artifacts. So, when I hear of this wild comb filtering with two different mics, in speaker playback, I'm left perplexed with is how far is the offset that would cause such a wild amount of phasiness? I was shocked that I got the two stereo recordings to play together so nicely. But they mated up like old friends. This shows the arrangement and eludes to the depth. Binaural head, and second stereo pair about 5-to-6ft out behind the head: You can see the deeper set of mics, ^^, just above the walker handles. I have another instance where I had four omnis within a span of 2'; a pair of baffled omnis, annd a pair of 2' spaced omnis, same stand, same 90º perpendicular array across the stage-lip. I was expecting a complete meltdown to two channel mono due to the omnis being so close to each other. example, below: I say, if you're going to block the end of the center aisle, do so colorfully. Audio is weird. Fascinating, but weird.