RemyRad has been helping me on this. I have done some more experimenting.

I have a room seperate from my control/mixing room where I record vocals, instruments, etc..
During my last project, i was vocal tracking and noticed a funky hollow sound. It was not the room. I had to swiss cheese EQ to get the funk out. I have ruled out the mic (TLM 103). In this particular room i have a panel of 13 low z inputs that runs into my control room. These inputs plug into my patchbay. From the patchbay, I direct the signal into the appropriate input of my Firepod with phantom power.
At first, I thought i wasnt getting enough voltage from my firepod through the patchbay and into the room. Nope, was getting exactly 47 volts directly out of the Firepod, and in the room (after the patchbay). Polarity problem? Nope! Polarity is constant. A pin wired wrong in my panel? Nope! Pins 1,2,3 correspond throughout the signal path.
I took a pre-recorded, sweeping sine wave (20hz-20khz) and dumped it into Cubase SX3. I played this back into a mic at mix position. On one pass, I plugged the microphone directly into my firepod. On a second pass, the mic was routed into my adjacent room panel, through the patchbay, and patched into the Firepod(with the mic remaining at the same position). The second pass results in this funky hollow sound. Upon a detailed visual look at both passes (in wave form), there is no difference. There happens to be an accidental popping sound originating in the original recoring of this sine wave file I'm using. When this popping (transient) occurs, there is an apparent hollow sound accompanying it in the track in which i routed the mic into my adjacent room. I also noticed that the longer signal path resulted in a relatively different frequency response than the shorter. There is virtually no subtantial difference in the ohm load for either of the two signal paths. I need some Prozac...