The other usual problems in recording organs are noisy rooms. People are used to recordings made in dead, dry studios that are extremely quiet, but that s just the opposite of what you find in churches. You either use very tall mike stands, or crawl up to the ceiling and drop mikes from there. Sometimes you have to stick out long poles from the balcony and hang the microphones from there to get them away from the instrument. At the National Cathedral of Denmark the organ was up high and faced sideways across the church.
Nobody ever hears the organ facing it straight on.
In that position, the microphones could catch the reverberation in the side chapels, which was not evident from up high. I like to do the simplest possible miking techniques. I like to use two microphones and very short cable lines, going to digital as quickly as possible, paying attention to the quality of the cable and each individual component, but with the fewest components possible. But I will change microphone strategies depending on the room or the musical configuration of the group to get the right musical effect. Sherman faces a different set of challenges when adding a choir to the mix.