Capturing the Leslie speaker cabinet.
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FIG. 3: When using the stereo-miking setup illustrated in Fig. 2c, angle the mics as shown so the live horn will be on axis with each mic during its rotation. Note, too, how the mics are positioned to accommodate the off-center mounting of the treble-horn assembly inside the cabinet
(click for pop-up).

A number of setups will work for the matched mic pair on the rotating treble horn. If miking through the louvers, try positioning the mics on two sides of the cabinet, at either a 90- or a 180-degree angle to each other (see Figs. 2a and 2b) and at an equal distance from the cabinet (typically four to eight inches away). For stereo miking from the back of the cabinet (with the top panel removed, of course), position the mics at a 90-degree angle to each other with both aimed at the treble-horn assembly (see Figs. 2c and 3). Remember to take into account the off-center mounting of the horns.

Panning the tracks hard left and right will create the fullest sound and greatest sense of movement between the stereo mic signals. However, such extreme panning may sound unnatural, especially if you try to create a soundstage with a discernible location for each instrument. Pan the two tracks closer together for a more natural sound.

Three’s Company
Although two is the minimum number of microphones required to capture some “motion” from a Leslie, at least three mics are required to capture both treble-horn motion and the unit’s full frequency range. When using three microphones, position the matched pair as described earlier and train the third mic on the rotating wooden drum that channels sound from the 15-inch woofer (see Fig. 4). That drum can put out a fair amount of wind, especially when spinning at full speed, so if miking from the back of the cabinet, you may need to employ a pop filter or windscreen. (Note that newer Leslies use a Styrofoam drum, which is lighter and produces less wind than the wooden drums.) If the player disabled the lower motor, a pop filter won’t be necessary; however, make sure to turn the drum so that the port is facing the mic.

Again, for the fullest sound and most motion, pan the stereo tracks hard left and right and put the bass track dead center. To locate the organ (or whatever) on a more believable soundstage, group the three tracks closer together—only two or three “hours” apart—again with the bass track in the center and the stereo tracks on either side.

Fab Four, Fab Five

FIG. 4: A matched pair of Neumann U 87s captures a stereo image of the rotating treble-horn assembly while a Coles 4038 ribbon mic documents the lows from a Leslie 51
(click for pop-up).

To create the greatest sense of motion, add a second bass mic—preferably the same model as the first—and record onto four tracks. As with the stereo pair up top, position the two lower mics at a 90- or 180-degree angle to each other. (The configuration of the bass mics to the treble mics—whether on the same, opposite, or adjacent sides of the Leslie—is not critical, but you may want to experiment just the same to find the combination you like best for the song you’re recording.)

Afterward, play with the panning to get the desired movement. You could pan each stereo pair hard left and right, of course, but you might also try panning the bass tracks inside the hard-panned treble tracks, perhaps at ten and two o’clock. Or try panning them the other way around, with the bass tracks hard left and right and the treble tracks inside. Still another approach would be to overlap the tracks, with the treble pair panned hard right and ten o’clock and the bass pair panned hard left and two o’clock, for example.

For the most versatile and potentially realistic sound, add a room mic to the mix for a total of five microphones. That mic—a tube condenser would be a nice pick—should be positioned several feet from the Leslie, if not on the other side of the room. Heck, if you want to go all out—say, if you’re recording a solo B-3 record—add an XY condenser pair to capture the ambient sound in stereo for a total of six mics and six tracks. If you think that sounds like a lot of mics to keep track of, think of the options you’ll face when a B-3 player carts in two Leslies—the way a Hammond was meant to be played, according to the connoisseurs.

Spin Cycle
As you can see, there are any number of ways to record and mix a Leslie. This article is hardly exhaustive, but it has outlined some basic tried-and-true techniques and hopefully also provided some helpful tips for engineers new to recording the wondrous Leslie speaker cabinet.

Associate editor Brian Knave looks forward to recording and mixing a Leslie for 5.1 surround sound. Thanks to Myles Boisen, Barry Cleveland, Dan Eisenberg, Jim Pugh, and George Petersen.

Reprinted with permission from

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