Guys,
I didn't mean to open up a can of worms here...
The two mics are about 40 inches apart, they will comb primarily at the frequency with twice that in wavelength (~160Hz). The distant mic does not benift from the proximity effect, so the lower end range isn't all that important, and it can be EQ'ed out to nullify its effect on the close mic. Any phasing as higher wave lengths is hardly noticable, if at all.
The room is live, and is kicking back lots of relections which is where I am getting my rev from. The direct sound of the pre amp is bone dry, and very focused.
All the technical aspects aside, this is quick and dirty. Two mics on one stand and a direct line out. I bring them up on seperate tracks, each one individually gives me what I'm after, there is a slight combing problem with the distant mic which is easily rectified. In the end, I get the result I'm after so I don't see any problem with it. With that being said, there is no need to move the mics or treat the room in any way.
I've heard lots of stuff that comes out of perfectly engineered studios, with ideal environments that sound like total crap. I've also heard bands play in hockey arenas and the sound was fantastic.
EQs are not evil, I've made a living by knowing how to use one. Look at relative mic placements in live situations, no where near ideal and the loudest ones move around. The main front of house graphs are for EQing the room and the environment in relation to the mics. Other than a few basic guide-lines, the whole technical aspect doesn't really matter if what you are hearing sounds good. Mixing audio is not a technical skill and it does not require any at all. If something sounds wishy-washy it doesn't really matter why, it only matters that you recognize it as a problem and can deal with it. Mix with your ears, not with your eyes or by some rulebook.
I'm not knocking the importance of proper mic placement, accostically nuetral rooms, or anyone else's opinion for that matter. I'm just pointing out that they are not the be all end all when it comes to shoving a couple of mics in front of a guitar cabinet and getting a sound that works for me.
I think GuitarPix said it best way back in the second post of this thread:
"In the end, there's as many ways to mic a speaker as there are sound engineers."