From c_schonberger@yahoo.com Sat Sep 12 09:39:42 2009
Subject:leslie miking - was: Ventilator arrived today


--- On Sat, 9/12/09, ghvc1 wrote:
 
I actually prefer mono micing of a leslie. To me stereo upper rotor gives the impression of too fast of tremelo speed and I like the classic beating of the close mic mono signal.
..........
 
Agreed. When I use a real leslie on stage, I ask for the sound engineer to only use two mics and keep it mono. So there are no phase problems and the signal is steady and easier to mix.
 
In recordings, especially gospel music (Yep I already arranged and co-produced a gospel music CD where I used NI B4 running through a real leslie - sonds just fine) I like to occupy the entire stereo image with the miked treble horn. It is what I like to hear most in this particular music style since the Hammond very often does the job of an envolving 'pad' with the occasional licks, melody lines and "hi wire notes" thrown in), working closely together with the piano. The microphones need to be at an angle so that they don't cancel out any part of the signal and that they do not considerably soften the beating of the horn. This is easily tested by listening to the signal in mono - if the beating is too blurred, the microphones need to be in a different position. Usually a 90 degree angle, or even narrower, around one corner, yields good rsults.
It is also of importance if the leslie has louvers (clasic 122 f. ex.) or wire mesh. If the AM (pumping) is too strong, the Hammond might sound great with leslie on fast, but the slow can make it disapear and re-appear in a mix, espcially in mono. It all depends on musical style and context.
 
I apologize for my long ramblings and stating what most if not all of you guys already know. Just sharing my thoughts....
 
Christian
 



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