There are a couple of things here to consider when utilizing ribbon microphones on a Leslie speaker. You're obviously putting the microphones on the back open side of the Leslie cabinet. The wind it generates, you already know, did its damage. A foam pop filter is an open cell foam actually allowing the wind to enter. Its shape and design is to prevent blasts not wind. The nice thing about a Leslie cabinet is the front & side's. The holes for the sound are a little like Venetian blinds. They aim & direct the wind downwards. So slightly miking from over top of those is the smart way to go when utilizing ribbons. It's only slightly more unsightly for television than miking in the backside. And after all, you already got a pain in your backside once already. I don't care if you are gay, that's not the way to do it. I mean gray.

56 and no gray
Mx. Remy Ann David

Thanks for the response Remy,

There are a couple of things here to consider when utilizing ribbon microphones on a Leslie speaker. You're obviously putting the microphones on the back open side of the Leslie cabinet.

Actually I always mike my Leslies through the louvers. If I buy a Leslie that doesn't have the back covers I make them. Don Leslie put them there for a reason.

I moved my organ and Leslie around and found a way to get them 6" away from the Louvers and the problem is solved.

DW

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You might have an easier time of it without trying to stick those microphones in an XY configuration. Just because you want stereo from a Leslie doesn't mean you need XY. You won't have any phase problems if you put one microphone on one side of the box and one microphone on the other side of the box or on the 90° opposite as opposed to 180° opposite. Then you can keep them closer and a little higher aimed down. Your microphone technique on this looks like you've read a little too much into stereo microphone techniques and phasing issues. The sheer output level along with the box running some interference will give you great stereo and is a heck of a lot easier to negotiate than this XY thingy. But if it makes you feel good, that's all it's all about. So dare I ask what microphone technique you've used for the bottom? You know there is a bottom. You're sitting on it. So am I. And I don't have a Leslie I have a Remy.

I'm a whirling dervish or is that deviant?
Mx. Remy Ann David

I have found you can mike a Leslie a million different ways. They all sound great just different. Here is what I usually do.

For a jazz trio where the organist is playing the bass. I use 2 condensers or ribbons on the top 180, 90, XY, mid side, whatever sounds best in the room panned hard left and right. I use 2 big diaphragm mics on the low end, usually 180 and pan hard right and left. I also record a direct line from the organ for use later for added bass or just to fill in with the Leslie. Two things most people don't know about Leslies is that only one side of the upper horn has sound, the other side is just a counter weight, and the bottom and top rotors spin in opposite directions. It's important to have your left and right on the top and bottom match.

For a small combo I use 2 condensers or 57's and a large diaphragm on the low end in the center.

For a really large band I usually do 2 mikes or even 1 and record the organ mono.

I have found the larger the band the more mono you want to make the organ.

DW

Well now knowing your expertise is quite well experienced, I'm not sure why you asked the question to begin with? At least you now know not to blow into ribbon microphones with anything.

My car doesn't run properly when I stick a tennis ball in the tailpipe. What should I do?
Mx. Remy Ann David

Arent the Cascades a little dark for the upper rotor? Or are you compensating with EQ? I think Don put the louvers on the box so the little ole church ladies wouldnt blow their guests away in the living room at tea time.