Constructive Comb Filtering

My gut says its possible to bandpass pleasing interaction on one side of the doubletrack, but I can see that causing imaging probs.
 
Wandering, left to right.
 
Is this approach going to get as deep, as fast, as I think it will?

Comb filtering is happening every where.
 

Actually, I haven't been cloning, but true doubletracking. It started with Seasons of Wither when I forgot to mute a take and had two going at once on playback.
 
It got a much wider spread and spaciousness then 'Smiths original, even pre reverb, a deep space swoosh better than flange or chorus plugs, but, like I said before, its better at some places on the neck than others, except...
 
I think I'm a midbrain, but not at the same time, and while I can sense the other side waiting with answers, I can't find the key to open the door when on the opposite side. Theory and math are partitioned off when I'm making music, subliminally there but not active.
 
Discussing things with others, like here,  makes a hardcopy I can reference from either vantage point, just like now. I'm seeing what I'm up against here.
 
First off, I have a feeling things are going south in mono with this technique, but haven't checked it yet. Theory says YES.
 
Second off, fretboard position probably is not the limiting variable here, differences in left/right track timing are probably orders of magnitude greater than fundamental variance. I think even a consummate studio musician will have trouble with timing sync on different takes at phase cancel/sum levels.
 
Still....I am enjoying this effect much more than any phase or flange plug or device I've ever used, so I'm going to continue to pursue it, but I have less confidence in mastering it than before.
 
Bitflipper might have a piece of the solution here, cloning identical takes and then introducing timing variation at controlled intervals to maximize positives and minimize negatives, but at that point, I'm back to an 'artificial" and mechanical system, essentially a phase or flange algorithm that lacks the sparkle (perhaps unpredictability?) of what I have now.
 
I think my next move is going to be to lay down a (third) center track to serve as the timing and audible "anchor", not necessarily panned zero but not pan wandering either. With that as foundation, it will mitigate mono deficiencies, and give me more control over when and how the two hard panned "doubletracks" comb filter the primary.
 
I can actually see a total of as few as five tracks...the center anchor, another take panned left, a third panned right, and the center anchor cloned left and right so I have the option of identical and disparate timing to work with via automated gain balancing.
 
The effect is yielding similar results with vocals, both background and lead,  so even though it currently seems a complicated mess, there is great potential value in advance.
 
Comments and suggestions welcome, thanks for those so far!

One thing I've done is to take a send from a mono-recorded guitar track to a buss with a medium length, somewhat dark stereo reverb and apply Channel Tools widener preset after the verb--adjust the width to taste.  You can also tailor the dry/wet signal in the reverb on this buss (maybe you only want the reverb to be really wide).

LMAO.
 
This is getting printed and posted, next to the patch map, room node spectral, and Pentatonic variants.
 
Thanks Bit!