Then there is the whole range where polarity is not out, but any of the possible combinations in time arrival from the source -or multiple points of sources that effects phase.
Where there is any arrival time difference it is a given some frequencies are going to be out. It starts in the highs with short delays and works its way down into lower as the time increases.
In the case of one source you keep your mics the same distance, or pick from the range of phase tone combos. In the case of multiple arrival point –a kit for example, it's the same game but you only get to pick one central spot or area between any spaced pair for 'in phase -and for Hass pan' centering for stereo imagining. Everything from either side plays in the phase' land.
Adding in close mics sets up another layer of it. Same game, new variables.
Panning to mono is our tool to check panned mixed stuff in its worst case' playback As well, mixing any of the signals at equal volume gives the deepest combing notches.