Birth of a legend
Before there were synthesizers and transistors, there was the unique sound of Hammond B3 tonewheels.
Laurens Hammond introduced the B3 and C3 tone wheel organs (distinguished only by their cabinets) in 1954 as an alternative to pipe organs, but it actually fueled a new era in gospel. Jimmy Smith brought it to secular attention as the centerpiece of his jazz organ trio, and legendary rockers like Keith Emerson, Rick Wakeman, John Lord and Billy Preston further propelled the sound into the spotlight.
The B3 has been used on countless recordings and almost every genre since and is still a fixture in studios the world over. Hammonds are most often run through rotary speakers invented by Don Leslie that took the idea of vibrato to a whole new dimension. We’ve faithful modeled both the organ and rotating speaker together just as they should be in the B-3 V.
The B-3V gives you the heavy sound of the original—without the heavy weight.
The real thing
The B-3 V recreates every aspect of the original classic with incredible realism.
The B-3 V’s namesake was electromechanical, employing a series of spinning tonewheels with adjacent pickups to produce flute-like tones in octaves and harmonics for each note. These could be variably mixed via a set of 9 drawbars per manual to achieve more robust additive timbres. In the B-3 V, we’ve meticulously modeled the individual components to achieve complete realism.
One of the things that distinguished the B3 from its earlier siblings was the percussion feature, which added a quickly decaying sound at either the second or third harmonic. This gave an edge to each key press that players across genres employed for extra punch and articulation, especially for solos. In the B-3V, we’ve faithfully modeled both the organ and rotating speaker together just as they should be.
Another signature characteristic of the B3 was its unique modulation circuit that let you switch between three different depths of vibrato or three different intensities of chorus. Yep, we modeled that authentically as well.
The B-3 V recreates every component of the famous B3 sound to give you the most faithful software emulation you’ll find anywhere.
Rotary speaker and other effects included
Your B-3 V comes complete with every creative effect that’s ever been applied to an organ—plus some that haven’t until now.
You’ll rarely see a B3 in the wild without a rotating speaker designed by Don Leslie. Consisting of a rotating drum for lower frequencies and rotating horns for high frequencies, it delivers a much heavier effect than vibrato due to its Doppler pitch-changing characteristic. Key to the sound is the ballistics of how the drum and horns accelerate and decelerate between the slow and fast speed setting —another thing samples just can’t fully capture.
We’ve authentically modeled both the closed and open cabinet versions, and added separate speed and acceleration controls for drum and horn, drum/horn balance, and mic placement, giving you unprecedented customization. You can easily map the essential rotary speaker Stop/Run and Slow/Fast switches to a footswitch or other controller of your choice.
The B-3 V also comes with its own built-in convolution reverb. Choose from 20 different spring reverbs based on Impulse Responses from your favorite vintage amps and gear —plus some cool ones you may have never heard of— to place your tonewheel sounds in just the right space.
Fire up the built-in set of classic effect pedals including chorus, delay, phaser and flanger to bring additional character, animation and spaciousness to your sound. When it’s really time to rock, you’ll love kicking in the overdrive pedal for as much crunch as you need—with a nod to Jon Lord of Deep Purple fame. All of your effect settings are saved right with your presets for instant recall.
The rotary speaker and other built-in effects let you easily texture your organ sounds to make just the unique statement you want to make.
Pro sound all around
The B-3 V will be right at home in just about any musical style you play—from rock, prog and reggae to jazz, blues and R&B, right through to today’s dance bass lines.
We’ve invited top programmers and sound designers to set you up with all the presets you need for the definitive classic sounds across all those genres, plus get you started exploring the new creative options.
Without the Leslie
With the Leslie
With Voice Modulator
- : Win 7+ (64bit) PC: 4 GB RAM; 2.5 GHz CPU.
1GB free hard disk space
OpenGL 2.0 compatible GPU
- : 10.10+: 4 GB RAM; 2.5 GHz CPU.
1GB free hard disk space
OpenGL 2.0 compatible GPU
Works in Standalone, VST 2.4, VST 3, AAX, Audio Unit, NKS (64-bit DAWs only).
The software is protected by the Arturia Software Center. You can learn more about it here.
- Physical Modeling Engine (no samples)
- Dual manual Interface
- Each manual has separate MIDI channel preferences
- 9 Drawbars per manual
- 3 modeled chorus and vibrato settings
- Separate upper and lower ON/OFF
- Preamp drive
- Modeled rotary speaker emulator
- Advanced controls for adjusting the model
- Convolution based Reverb
- Traditional Leslie performance controls
- Swell pedal
- Percussion controls
- Volume soft/normal
- Slow/Fast decay
- Harmonic selection
- Output effects where you can change the order
- Volume, wah, auto-wah
- Analog Delay
- New Advanced Drawbar modulators
- LFO’s with multiple waveforms and phase
- Multipoint envelopes
- Step sequencer
- Drawbar destinations with positive and negative amount controls
- Physical model engine parameters
- Drawbar leakage
- Tonewheel leakage
- Background noise
- Polyphonic Percussion
- Key click volume
- Attack and release controls
- 86 factory presets
- Easy to use MIDI mapping