Maybe I made an error and sent the same file back.... I saved both as same name before so I am using different name (I messed up I'm so sorry to have caused any agrivation.)
usuall proceedure I use to remove subsonic rumble and VFL from a track is to split to mono and chain...
Then adjust phase (CEP and Audtion show cross talk as the wave from in between the two channels) a little is okay and tends to make the sound a little larger than it is but too much can null out some frequances.
Then a high pass filter usually remove or reduce anything under 24 Hz since the sound of the room was important I only reduced in you clip.
Next I use a FFT filter to mould sound for generic speakers, you can get a great deal of info on spkeakers and their profiles from searching on internet (nothing beat a good listen to on a pair of bad speakers tough). Basically, they do good from pop songs.... Good on mid-high A little worse on mid and mid-low, and Terrible on HF, LF and ULF. Min responce is usually between 24 Hz and 30 Hz. So a gentle curve up from 24 Hz (at -inf) to 36 (at -90) and then more aggresive curve to 50Hz (at -2 db) to 63Hz at (-0.1 db) you can leave the rest flat or adjust to suit your ear. If you clip has enough in the mid and mid high to keep the speaker cone vibrating quickly your bass will not come out on crappy speakers, which would reproduce it as distortion anyway so you will be safe then.
Here is the screen shot as I get in in Audition an a reworked file (I erase the one I had before so I start again - but I did not spend as much time.
This is at 1:00:121 which is peak harmonic in the end
The Red (1) : is the main one from you.
The Green (2) : is the one I edited
This is at 56:361 the quietest point in the mix, where you can see the different microphones and the chracteristics of the room a little.
The Blue (3) is from the main one from you
The wav form under it is from the filered one after the phase was taken away... look at the big difference in what was recorded!!! I will guess that the left mic was closer to the sound hole (but notice how the room harmonics are almost identical (this is the stuff under 100 Hz) and since Bass wave travel slower you can see them chasing each other on the graph as the notes in the room arrive to mic with dopler shift in frequance.)
As for the tracking (this is what I use for classical guitar it works okay but I am sure there is better ways.) try 3 to 4 mic a matched pair as x pattern (invese phased) 1/2 diameter of sound hole to each side, and one at pointed at the sweetspot of fingerboard. The player has to sit still for best result you can use one more HQ condenser mic on center and adjust the distance from the player to get more or less of the room. I usally use hardware bandpass and drop anything bellow 43 Hz which apromximative 1/2 of the lowest note a guitar can make (this subsonic rumble because the guitar body will not vibrate that slow and the probability that the wave form is to make out of the sound hole the sound hole is so so low as to negigiable.) If you want to have a DI from a ribon microphone for reference and mixing that is good too ...
Then you adjust the mix as you like and if you don't record any ULF you don't have to worry about them latter (ULF is more felt than heard anyway and when was the last time a classical guitar hit you like a drum... for me I don't recall

)
For the Pink Floyd look at the frequencies bellow 100Hz especially between 70Hz and 20Hz this is what is most likley to cause distortion (although you always hear it with other notes the LFs to high ULFs are your big problems for reproducing on low cost speaker. Looking at that picture I might try some changes on my FFT pass to remove more of the frequances from 70Hz to 40Hz
I will make sure the correct file is attached this time....
In the end it is you who will have to decide what is acceptable and not because most people do not have the equipment to hear real sound (but it is always nice to try to get as much of it as possible before destroying most of it - that's the diff between tracking and mastering ... you spend all your time to get super real sound and the final masterer will spend all his time to chop off the parts that are too real for vulgar equipment amongst other things.