Opinions?

I have a Roger Mayer Univibe
 
It will suffice  

A surprisingly dark query from you Geoff (hi BTW) but I think I'm gonna have to say I would rather mic the Leslie cab over destroying myself.
 
In fact I'd say I'd be much more interested in the various ways to mic a Leslie cabinet than I am in the various ways to destroy myself.
 
And believe you me... I can get quite creative and imaginative in ways to destroy myself.
 
Also... and I'm no Leslie talking dood... I'd imagine a/some ribbon mics would be quite advantageous in whatever Leslie cab mic'ing is to take place.

The question was originally posed by my friend who owns the Leslie when I suggested recording it. The darkness was his. I just thought it was a funny way to pose it. He makes me laugh.
 
We've been having a great time making awesome wild sounds with all his Moog stuff. Dude, it's crazy fun. The sound fills the room and evolves and changes in a way that's hard to describe. Nothing that has come through my monitors is like it. It's like the difference between a picture of beautiful mountains and standing on a beautiful mountain. Sure, any one picture can capture a single perspective, but when you're there... it's just better.
 
My friend smokes, so I don't know if want to break out my ribbons at his place. :-(
 
I was thinking just 2 SDCs in the room and call it a day. I agree it would be nice to include a ribbon or two, I just don't know if they'll suffer from the smoke. I could ask him to cut back on the smoke while we do it, but idk. It's a house with a wood stove too. So many particulates in the air.

I edited my post title to make it less stressful.
 
Not sure the humor conveyed.

http://blog.shure.com/miking-the-legendary-leslie-tone-cabinet/
 
In case anyone wants to know!
 
Two mics up top will get the stereo effect happening. There can be quite a wind up top as well so make sure the mics have wind shields on them. Also things can get a little noisy in there too.
 
If the bottom baffle is rotating then up to two mics down below as well can be cool too. Or at least one down below. 

I worked for a guy who had a Leslie in his studio (I think he actually had a stereo pair at one point). I only got to hear it fired up a few times but yeah, they are interesting and this post got me thinking of how I'd approach it (if I had the mics).
 
I think I'd do a "surround" type scheme. Five mics, two stereo pairs (one pair of condensers and one pair of dynamics like some 58's/57's).
 
I'd mic all four sides of the cab with the stereo pairs being (obviously) directly across from each other. The hang a ribbon mic or something really rich sounding above the cabinet by at least a few feet. Then pan things appropriately in the mix.
 
Some stereo room mics for some natural delay/to capture the weird way the Leslie throws would be ideal too.
 
Again, not a Leslie talkin' dood but that seems like a cromulent (if not a bit overly elaborate) setup.

You are way over thinking it.  I have done it with a pair of near co incident mics on a stereo bar and it sounded fantastic.  What can be good is if you can put the Leslie in a smallish live room e.g. a laundry etc and let the sound bounce around. A stereo pair will pick up all the imaging etc...
 
They can be noisy and you can pickup all sorts of mechanical stuff because it is a big mechanical thing.  Driving it quite loud overcomes this a fair bit. Hence putting it in a room away from the main control room etc.. can be very good. 

Jeff Evans
You are way over thinking it.

Heh. I NEVER do that. Just ask Ed!
 
;-)
 
Good to see ya Jeff.

Hi Beeps. I think a surround recording could be good if you were going to reproduce it live or in playback situation with 4 speakers etc..  The sound only comes out of one horn, not both.  The other horn is there purely for balance.  So 4 mics in a square formation around the top to middle area could be good.  If the lower baffle is rotating then that movement would also be picked up too.  There is quite a lot of movement involved from both parts.  Top and bottom.