Using a Sterling ST170 ribbon as a "side" mic in a mid-side setup for the top rotor can yield excellent results, but may cancel out in mono.

It's recommended to avoid micing the vents to reduce random stage volume bleed, instead positioning mics equidistant from the horn.

The SM57a can sound shrill and metallic when micing the Leslie, contrasting with the typical praise for SM57s.

Users report that dynamic mics like SM57s can sometimes cause significant hum or buzz due to proximity to Leslie's electronics, unlike condensers.

In live settings, using windscreens is advised to mitigate wind noise from the spinning rotor, especially with close mic placements.

An unconventional micing approach involves using two Roswell K47s in an X/Y configuration on the side of the cabinet, resulting in a well-sitting mix.

Some users have successfully employed SDC microphones inside the Leslie cabinet for isolation, achieving a brighter, more present sound compared to SM58s.

For organ trios without a bass player, a kick drum mic on the low rotor helps when bass pedals are used, enhancing low-end presence.

Employing EV RE20S for the top and an ND/868 for the bottom rotor provides a strong tonal presence, with ribbons being a favorable alternative.

The Leslie 170 only has one functional horn, with the other acting as a counterweight, affecting mic placement and stereo imaging.

The crossover point between the high and low rotors is at 800 Hz, influencing mic placement and EQ during recording or live setups.

Panning top mics at 90 degrees is suggested to effectively capture the Leslie's warble effect, enhancing the stereo feel.