A / B stereo miking: directional (if you plan on adding artificial ambience) or omni-directional mics aimed straight ahead, separated anywhere from 1-3 feet, behind the conductor anywhere from 2-10 feet (or more, depending upon how good/bad the room is). Some people recommend outriggers, but that is mostly for closer recording, which often causes problems with the blend of voices. Blumlein may work, but must be back far enough to keep sections (SATB) from becoming too localized (heard as mostly in one speaker or the other).
Micing choirs usually means moving the mics further back to help the voices blend. In some cases (in Lovett) the KM184s in A/B (spaced 2 feet) may be the best choice to avoid excessive crowd noise. In general mics need to go as high as possible, especially if out on the floor of Lovett.
Dr. Almquist likes the sound of the mics about 3/4 of the way back from the Lovett stage.
A close pair on the stage behind the conductor will provide a second option for exceptionally quiet choral pieces.
