In a nut shell, it sounded better.
To go into it a little further, I have recorded DB before and know those two places are good spots to place microphones. So, I start there and place them. I will solo the mics when I place them to see what the instrument offers as far as sound goes then open them up together. When you place solo mics that will be joined, even if you plan to pan them hard left and right, phase is important. You have sound arriving at 2 microphones at different times when you multi-mic something so you have to check phase if the placements are spaced and not coincident or near-coincident. One technique of placing is phase invert one then place them while they are both on and once the sound collapses, remove the invert, or alternatively, place while they are still in phase, find the collapse point then phase invert one of the channels.
In my way, after this is done, I look at the sample level to make sure the pairing’s phase is dominantly positive with low frequencies. If you don’t, the low end can get really screwey with other instruments that join in that frequency range. For instance, if the kick drum is opposite phase of the bass guitar, or upright bass in this example, you will have serious power going negative while another force going positive. They will fight each other during summing and inside the amplifier that is playing back the song as well. That’s not good.
Pardon my intonation
…was a fine time for me 
