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The B5 Organ V3

Based on real tonewheel samples and fully modeled: from the tonewheel pickups and
the AO-28 amp to the resistive wires, to the drawbars and key contacts... Everything
has been carefully measured on different models and adjusted to match real organs.
The true sound of an organ with the flexibility of synthesis.

A Hybrid Approach
Hammond organs are complex beasts, full of wires and mechanical parts. Until now,
the best renditions (short of a real organ) were made using pure synthesis, mainly
because the organ works using a set of 91 frequencies that are connected via
contactors under each key and whose volume is controlled by the drawbars. Sample
based libraries consist of stacking drawbar samples at the same time. This works,
but causes a major problem: sometimes you play the same frequency twice and because
of phase cancellation, you never get the same sound twice when you press the same
keys. We have found a way using the 91 frequencies synthesis approach, but with real
samples, which allows you to enjoy the best of both worlds: a real recorded organ
tone plus the real mechanical behavior but with the added benefits of functioning
drawbar controls and synthesis tweakability.

Sample based synthesis
There are things in the Organ sound that can't be faked: tonewheels, keyclicks,
vibrato scanner... so we sampled them.

We then meticulously reproduced the whole signal chain: tonewheel pickups,
resistance wires, AO-28 frequency response, drawbars, swell pedal, percussion
circuit, as well as all of the knobs and controls available on a real organ. Even
the small wiring and electrical peculiarities have been reproduced like foldback,
internal noise, leakage and even more complex ones like tone control, loudness
robbing, voltage stealing, etc.

Here is a list of features that you will find in the main interface:

- The Drawbars
The upper and lower manuals each have a set of 9 drawbars and the bas has 2 drawbars
(the version 1 had 3 drawbars, but we revised our model to really mimic the real
frequency combination of the real pedalboards).
The volume curve of each drawbar has been carefully measured and reproduced so you
can be sure that a setting you know on a real organ will sound the same.
Of course, since our system is based on virtual tone generators, the drawbars can be
moved in real time.
The set1 and set2 are just like the A# and B black keys on a real organ, the set2 is
the B black key and is the only preset that contains the percussions.

- The percussions
Just like on a real organ, the percussion system works only for the upper manual and
will disable one drawbar from it. By default, it is set to the 9th, but you can
choose which one and even allow all drawbars from the advanced preferences. Remember
that to hear the percussions, you need to enable the second set of drawbars (B
preset key).
There are more information about the percussion system in the percussion section.

- The scannervibrato
The original scanner vibrato is not a simple vibrato, tremolo or flanger effect, it
could be modelled by using a delay line.
The vibrato created by Mr Hammond relies on a rotating delay that creates the
vibrato (V-1, V-2 and V-3) to which the initial signal is added to create the chorus
effect (C-1, C-2, C-3).
Instead of trying to recreate it, we preferred sampling each of the 6 different
settings and we aligned them to make sure they always stay in phase.
Of course, just like on the real machine, you can activate for the vibrato for the
upper and lower manuals independently.

- Volume control
We measured and replicated the evolution of the swell pedal as well as the
percussion volume and of the "normal" and "soft" volume.
We also added a general volume button in case the sound gets too loud and saturates
too much.

- Presets
You can select a drawbar preset for each manual and browse through them by clicking
the prev or next button while you play. The list of presets can be edited in the
At the bottom of the interface, you will see the general presets, you can choose one
of them from the list, and you can also save and load exported ones.

- Rotating speaker Speed
Regular rotary speakers have a slow and a fast rotation speed (respectively called
Chorale and Tremolo), it is common to add a brake position as well.
This function is accessible from the interface but also by using the Modulation

- The FX
We also added a tube distortion to imitate the behaviour of the rotary speaker when
you increase the input volume.
We added a reverb knob based on a spring, plate or real room reverb. On the front
panel, you can only control its amount, but in the FX panel, you can ompletely
control the time, type, pre/post and amount of reverb you want.

- The Tone control
This is an addition of the V3, this know is present on real organs and control the
response of the AO-28 amp, so it's some kind of brightness control but that isn't
just a filter, it actually increases the volume the higher tone generators or lowers
it before it goies into the whole divide down system of drawbars.

- the tonewheels model
This is again an addition of the V3, you can choose the model of the tonewheel from
4 different models that we sampled. a B3 from 1986, a C3 from 1960, another C3 from
1969 and an A100 from 1965. They all have slightly different tones and crosstalk

- The voicing models
That's probably the most advanced feature of this default panel, it allows you to
choose btween hundreds of voicing models measured by our friend Kon Zissis, a
hammond enthusiast that serviced and measured a large number of hammond organs over
the years. You have now access to different B3, C3 and A100 in different conditions,
with wax capacitors, with brand new capacitors andd also after full voicing
adjustment, but you also have access to a number of other models, including A, A2,
V, B, B2, C2, BA, BC CV, RT3 and a few others. The voicings can be edited further by
clicking on the small arrow next to themenu.

Advanced preferences
In the prefs panel, you have a few very advanced but extremely useful features that
actually make the organs sound how they sound.
Hammonds are electric and the amount of volume each tonewheel outputs is limited,
when you play two notes that use the same tone, you don't just get double the
volume, "the loudness robbing" is an effect inherent to the hammond circuit that
reduces the volume of that tonewheel depending on the number of notes that access
the same tonewheel.
For similar reasons, the "voltage stealing" is another effect that also reduces the
overall volume based on the number of notes played, but this time of the whole
organ, not just on the tonewheels. And since it would be too easy, that reduction
isn't the same depending on what notes are played, what drawbars are used, etc.
Every hammond organ produces a background noise, most people try to remove it, but
it's still a signature of the hammond organs, so you can control its amount.
The crosstalk is basically the frequencies of the nearby tonewheels that leak into
the pickups plus the quality and age of the small filter after the pickup. You can
control its amount here and make it sound like a pure sine or greatly boost it if
you want.

The keyclick is also a very recognizable feature of the organs, that Mr Hammond did
not want. Depending on the age of the organ and it's restoration state, that click
will be more or less dark or bright, and you can control that here.
Since organs basically only have 91 possible frequencies, on the last drawbar, there
were not enogh frequencies to cover the whole range of the keyboard, before Bs, Mr
hammond just decided to just not add anything else, but this meant that the tone was
abruptly changing at those points. He then introduced the foldback that basically
repeats the same frequencies of an octave below, giving a feeling of continuity. The
B3s and similar use a standard foldback the older A and BC models used a different
one and the spinets don't use any. You have the choice to use any ofthe three to
match the voicing and tapering values set in the voicing panel.

Rotary Speaker Simulation
Version 3 is an entirely new Leslie simulation, much more detailed and true to the
122A recordings.

You can choose between a few different Leslie models for each rotor: a 122, a 147, a
3300 and a few other variations.

It is also completely adjustable: microphone positions, angles, distance, and
volume, pan, speeds and acceleration times can be modified independantly for each

We added three new features: driver distortion, microphone bleed and room simulation
and combined with our V3 model, they make for an ultra realistic Leslie sound.

The rotary speaker has a strange story, Mr hammond did not like the "Leslie"
speaker, and never accepted to sell an organ with it even though almost every organ
today is paired to one. Instead the organs were sold with a "Hammond Tone cabinet".
Mr Leslie never gave up and always made models that would be compatible with every
new organ, while Mr Hammond made sure that every new organ would change its

The rotary speaker consists of two different rotating systems, each of which
receives a filtered signal from a 800Hz crossover circuit.
The Horn (at the top), receives every frequency above 800Hz and is made of a small
speaker directed to a double rotating  horn (one of which is actually here only for
mass compensation to stabilise the system when rotating). That rotation creates
three big effects, a volume change, a filter change and a doppler effect that will
modulate the pitch.
The Drum (at the bottom) is similar as it also rotates, but at a slightly different
speed and gets the frequencies below 800Hz. To still have an effect at lower
frequencies, it is bigger.
We made the most detailed measurements of these effects and created the best
simulation available today.
The combination of both these rotators and the wooden box they are into give the
rotating speaker this very typical sound that will vary with the rotation speed.

You can customise almost everything on this model in the speaker panel.

- The overall volume of the Leslie, as well as the DI signal or a guitar cab
simulation can be adjusted. If for example you want to use another Leslie
simulation, you can completely bypass it by setting the Roraty Vol to 0 and use the
DI sound instead, since version 3 you can also pan the DI and play it along the
leslie signal. On top of the Leslie and DI, you can add a guitar amp and cabinet,
you get a choice between a few amps (Twin, Bassman, Deluxe, etc...) and you can
tweak its volume and pan as well as the input gain and a 3 band EQ. To access the
latter, you just need to click on the small icon next to the amp choice).

- The main purpose of the Speaker panel is to adjust the Leslie parameters. First of
all, all of the praeters are adjustable independantly for the horn and the drum.
So on each rotor, you can control the folowing:
The input volume: controls the volume input of each speaker (this does not exist on
12 Leslies, but it's there on the 3300).
The microphone bleed: controls the amount drum sound going into the horn microphones
and vice versa.

The pan: controls the right left pan of each rotor.
The Driver Distortion: We realized while measuring the horn and drum without the
Leslie amp that there was some inherent distortion to the speakers themselves, so
you can control how much of this effect you want.
A 3 band EQ: controls the frequency response of each rotor.
Slow and fast speeds: controls the speeds of each rotor when in chorale or tremolo.
Accel and Decel times: controls how long it takes for each rotor to reach the fast
speed when you switch the leslie to fast and the same thing when it slows down.
The Speed random: adds a little variation to the speeds, and if you set for example
the horn and drum at the same exact speed, you will still get variations instead of
something very static.

The Memphis: this is a feature that was asked by customers a lot, it allows to
simply disconnect the corresponding motor which will stop it from spinning, the
memphis mod is usually used on the bass rotor.
The Brake position: controls the position of the rotor when you hit the brake button
on the main interface. By default and just anything that rotates and is stopped, it
will stop to a random natural position that depends on when it was stopped and the
time needed to do so. We added the posibility to use a fixed position to always have
the same position when the rotator stops.
Deflector on/off: it's only available on the horn, we created two models, one with
the deflector on and one with the deflector off and you can choose between the two
options. When you remove the deflector, you will immediately hear that the amplitude
modulation is very much accentuated, but it will also feel less "airy".
Drum Panel: it's only available for the drum and controls if you want the leslie
with or without the wooden back panel between the drum and the microphones.
The mic position: There are 3 different choices corresponding to the most common
ways of recording a leslie, so from the back of the leslie, the side or the front.
We also added two variations that consist of being on axis, so with the microphones
set symetrically relatively to the rotors, or off axis where the microphones are set
symetrically relatively to the box (and since the rotors are not centered in the
box, they end up being asymetrical relatively to the rotors).
The microphone angle: for each position, you have access to a list of microphone
angles, from 0 to 180ø, they basically set how wide the microphone pair is set. When
set at 0, the signal is mono.
The microphone distance: You can set the microphones at 4 different distances from
5cm (2') to 90cm (36').
The enhance AM: controls an extra amount of amplitude modulation if you feel like
you want more of it.

- There are many models on the market, and they mainly differ by their dimensions,
horn size and position, but they can also use different driver or speaker models. We
sampled 3 different ones, a Leslie 122, a 3300 and a 147, each one with the same set
of microphone placements. The all sound slightly different. We also added some
common speaker "voicings", for example the L122A V2 will sound close to the B5 Organ
Version 2.

- Some users might prefer the version 2 of our model, so we gave the possibility to
use it again using the small top right menus hat say V3/V2.

- You can adjust the leslie mechanical noise by changing the Acous Vol next to the
Rotary volume.

- We recorded and measured the Leslie in a very dry environment, so to give it a
little more life and ambience, you can enable the Room Simulation.

Hundreds of models
All of the tonewheel organs sound different, each of them has a particular voicing,
and that's mostly due to the distance between the tonewhels and pickups but also to
the aging of the capacitors.

With the help of Kon Zissis, who has been servicing and measuring organs for many
years, we were able to incorporate 150 unique organ voicings from many different
models (A, AV, B, B2, C2, BA, BC , CV, B3, C3, A100, RT3 and a few others).

We also sampled 4 iconic models (1968 B-3, 1960 C-3, 1969 C-3 and 1965 A-100) whose
different tonewheel sounds you can switch between.

The combination of tweaking of the voicings with manual tapering options allows you
to shape virtually any organ model and sound possible.

On the main panel, you have access to a list of voicing models as well as tonewheel
The tonewheel models are actual recordings of real tonewheels. To make it as
realistic as possible and avoid any loop, these samples are 10 seconds long and
looped only after those 10 seconds have been played. It is then very unlikely that
you hear that loop, but you still get the live character of real tonewheels.
Depending on the model, you will get more or less crosstalk and the key click will
be slightly different.
Here are the four different models that we sampled:

A B3 from 1968
A C3 from 1960
A C3 from 1969
An A100 from 1965

Three of these Organs (both C3s and the A-100) are the property of Mr Pietro
Roncarolo from Italy, he made the recordings for it and also helped a great deal in
recording different aspecs and effects of his organs to help us create our model.
The voicing models on the other hand are what make a Hammond sound like a hammond.
This is what technicians spend hours doing when they adjust an organ. They change
the capacitors that are too old and out of specs and adjust the pickups to make the
organ sound as they want.

Kon Zissis, a very cool hammond enthusiast that serviced hammonds for years, has
been measuring the tonewheel output volume of the many organs he had in his hands
and helpd the Hammond community fix their own organs. He nicely agreed that we use
his measurements and include them in the B5 Organ V3. For us, this meant reproducing
the whole signal chain which we did not do in the V2, and after some help from him
and many hours of work, we were able to carefully reproduce every aspect of the
signal chain, from the AO-28 to the resistive wires and the drawbars and were
finally able to use Kon's data.

This give you a list of 150 tonewheel measurements from many different models. If
you click on the moicing model icon, you get acces to a panel that shows all 91
tonewheel volumes. As you go through the list, you will see that table change and
you can also make changes manually.

As you go through the list, you will see models that say "wax capacitors". These
models were measured before the capacitor replacement which take a lot of time to
do. Usually there is also the same model "recapped", meaning that they were measured
again after the capacitor changes. And finally the models that are "recapped and
recalibrated" have new capacitors and have ben adjusted to what is considered the
orginal hammond specs (for the corresponding models).
Once you're happy with a voicing, you can click on the three horizontal lines and
save your voicing and then reload it later.

We also added the option to enable or disable the manual tapering. On the B3, C3 and
A100 (RT3 as well) Mr Hammond added groups of wires called the resistive wires that
allow for a volume reduction that depends on the range and on the drawbar. The
manual tapering did not exist in older models like the A, B, BC, etc, so to be able
to take advantage of these models, we give you a way to not use it, or even to use a
Hybrid one.

The hybrid model is a mod that is often applied on older models like the A, B, A2,
B2, etc and that consist of a different set of resistive wires that will not reduce
the highs and lows as much, but still remove a little of the harshness.

FX Panel
On top of our Leslie tube saturation, we added a panel of 7 FX.

It includes chorus, phaser, delay, overdrive, fuzz, wah (which can also be an
auto-wah) and reverb (spring, plate and real room variations).

These FX are pre-Leslie, except for the reverb, which can be pre or post.

Now you can truly recreate the sound of any organ or song, including progressive

Tube saturation
The tube saturation on a Leslie 122 is very different from what you hear from other
tube amps.

We completely redesigned it in version 3 to match real recordings even more

Advanced Percussion System
The percussion on an organ is not just an addition of samples, it is a general
volume decay envelope triggered by the first note you play, which is not restarted
until you release all the keys.

We recreated it so meticulously that you can hear a percussion sound when you turn
it on or change from second to third! You can even customize the time, volume and
frequency to make it sound like "paradise".

It is also completely tweakable: you can edit the volume for the normal and soft
settings (as well as decay times), decide on which harmonic is played and even
control the recharge time.

The percussion system was introduced in the B-3 and C-3 organs to add the percussive
instruments to the list of instruments that the organs were supposed to replace.
As simple as it sounds like, it is not a simple sample addition, here is what it
does and that we carefully reproduced:

The percussion is a general volume decay envelope applied to an harmonic that is
triggered at the first key you press and that is restarted only when all notes are

The percussion circuit does not go through the scanner vibrato, its pitch stays
unaltered (at least before going through the speaker.
It is only available on the upper manual.

It steals a drawbar from the upper manual, by default the 9th, but we made is so
that you can choose which one it steals or even avoid it to steal anything.
It has two volume positions, "soft" and "normal", the normal is louder, but also
dims the volume of the drawbars. This effect can be turned off in the advanced
preferences and each volume can be defined as well.

You can choose wether you want to use the second or third harmonic for it, and you
can also use any harmonic for each position in the advanced preferences.
You can also choose the decay of that envelope (slow or fast) and these values can
be changed in the advanced preferences as well.

The percussion will not work if you don't use the second set of drawbars on the
upper manual (or use the B preset key) just like on a real organ.

In the Prefs panel, you can control that percussion system, here is what you have
access to:

You can control the "normal" and "soft" settings respective volumes. There aren't
two organs with the same voume for these.
The decay for "slow" and "fast" can also be changed, in reality, this is controlled
by a knob inside the organ called percussion cutoff.
The percussion system steals the harmonics from an existing tone, for the "second",
it's the brawbar nø4 and for the "third", it's the 5th drawbar. You can change that
if you want to to mimic what's possible on some spinets for example.
On real organs, selecting the normal position will increase the volume of the
percussion but also decrease the volume of the tones. This is called the voluem drop
and you can disable it if you want, this is a known mod on real organs.
The percussion system relies on capacitors and they need a certain time to recharge
once all keys have been released, this for example makes very fast repeated passages
sound different with the percussion volume reduced a bit as it did not have enough
time to recharge between each note.
We added two other mods, the "paradise" button that will prevent the percussion from
decaying, or the "always on" that will play a percussion sound everytime you press a

Real Key Contact Modeling
There are 9 electric contacts under each key, and each of them produces a small
click, but they don't all happen at the same time. Also, the intensity and timbre of
each click depends on the phase of the tonewheel signal when the circuit is closed.

Mr. Hammond hated them, but it wouldn't be a Tonewheel organ without them.

We completely recreated this for version 3. The progressive 9 contacts are now
simulated with velocity, and the variation of timbre and volume is now based on the
current phase of the tonegenerators.

You can also control their overall volume and timbre.

Organ Modifications
Every organ player likes to tweak their instrument, so all the modification that
organists can do are available.
- Paradise button
- Percussion always on
- Percussion volume decrease
- String Bass
- Foldback removal

And many other mods... but without having to solder or unscrew the whole thing.

There are many available organ modifications and they are not always done the same
way, but we find out which were the most common ones and included them.

In the preference panel, you can also modify the Drawbar Volumes which would mean
changing the resistance wires for every drawbar connector.
The String Bass is an organ add on that makes the pedal tones decay longer and steal
the previous note to make it easy to play legato notes with your feet. Its decay can
be changed.
Many organ players don't use the pedals and prefer to use the lower manual instead,
the problem is that Mr Hammond used the "foldback" to limit the number of tones to
91 and also assign the very low and more complex tones only to the pedals. A common
mod is to rewire these to the lower manual two lower octaves. We give the
possibility to do this on both manuals.
When the percussion is on "normal", the whole volume of the organ decreases while
the percussion gets louder. The "Percussion volume drop" mod avoids this volume loss.
As mentioned in the percussion section, you can control every aspect of the
percussion system, the volume, decay and the harmonic used for each switch position.
A less known effect is the percussion recharge time, which represents how much time
the percussion general ramp needs to go back to its maximum value, as an example, if
you play very quickly the same note, the volume of the percussion will be lowered as
you play faster, if the time between two repetitions is above the recharge time, it
will play at full volume, otherwise it will play at a fraction of it.
The percussion system "steals" a drawbar, you can change which one gets stolen or
even if it gets stolen at all.
Jimmy Smith used a broken organ on a few records, the percussion system did not work
properly and the percussion never decayed, this mod is called "adding a Paradise

All Three Keyboards
On a real organ there are 3 keyboards, two of which are almost identical except for
the Percussion system, plus the Bass pedals.
You can choose to use 3 different MIDI channels, one for each keyboar,d or you can
use Split to have all three on one keyboard.

In version 3, we decided to extend the capabilities of the Bass pedal manual.
On a real organ, the Bass pedals drawbars are a fixed combination of 8 frequencies,
but in the V3, we give you access to that mix and the first 12 tonewheels that
produce complex tones can also be filtered out to be closer to a sine wave.

We also extended the range of the Bass manual to 32 notes to match the RT3 model.

If you don't have pedals on your controller, you can also remove the bass foldback
for the Upper and Lower manuals to access deep bass without them.

You can also enable the stringbass mod with control over the sustain.

As expained on the MIDI panel tab below, you can use all 3 keyboards present on a
real hammond by using 3 MIDI channels or using a split.
The Upper and Lower manuals have been covered in depth, but an important part of
Hammonds is often overlooked and it's the pedals. The pedals only have 2 drawbars,
but each of them is actually a premix of tones and that pre mix, like anything on a
hammond, varies greatly from organ to organ. Also a few different mods to access the
low tones are quite common so we created a section dedicated to that in the
preferences, here is what you can control from it:
The string bass, its a feature that exists only in an add on, but that is used quite
often, the pedal notes will not stop as soon as they are released, but will follow a
sustain time. That system is also mono, meaning that every new note will stop the
previous one, this is often used for bass walkings.
The Bass on lower or upper manual first octave will allow the usage of the first 11
bass tonewheels on the upper or lower manual, this is useful for players that don't
have pedals or that just play the bass with their left hand.
You can control the overall volume of the bass pedals.
The first 11 bass tonewheels are not as close to a pure sine as the rest of the
tonewheels, thay are called complex tonewheels and they already produce a mix of
frequencies. Organ players often prfer a sine sound and will add a capacitor to
filter them. You can now do that in the B5 as well.
As mentioned above, the pedal drawbars consist of a pre mix of tones, in the V3, we
added to possibility to modify it to your liking, if you click on the small icon in
the "bass manual settings" you will see two tabs representing the amount of each
tone used for each drawbar.

In the version 3, we completely reworked the preset system.
They are now global and will save everthing, but you still have access to around 200
drawbar presets that you can load, save, delete or assign to the preset keys (upper
and lower), and these include the most used Jazz, Gospel and classical presets.

The preset keys (Bleck Keys to the left of the range) can also be customised and
will allow you to easily change drawbar settings while playing.

On the front interface, you can select any of the 200 drawbar settings for each
manual and move to the previous and next one by clicking on a button.
There is much more you can do here with these presets, if you click on the presets
button, the preset panel will appears, and here you can choose your current drawbar
setting, give it a name and add it to the preset list to be able to use it live.
You can even create your own preset list by removing or adding items or export and
reload lists created by you or other users.

There are also general presets that include every setting of the library that you
can save and load without reloading the whole library, we included a selection of
presets to get a good stating point and shape the sound in seconds.

To play with your settings live, you can go in the advanced preferences and assign a
preset to each of the 12 key selectors just like on a real organ, the only
difference is that you choose the settings here and don't have to rewire everything
each time you want to change them.

MIDI assignment and controllers
Every element of the interface can be assigned to any MIDI CC and Channel easily
using our assignment panel or our MIDI Learn function.

To make things even easier, we included a few mapping presets for the most common
organ clone controllers, this includes, the XK and SK series, all Nord keyboards,
the Crumar, the HX3, the B4D and some others.

We even included most tweaks required by some controllers like the inversion of the
drawbar movement or the toggle for the leslie speed.

The volume pedal is a crucial element when playing the organ and you have the
possibility to adjust the curve and range of the volume and filter affected by the

In the MIDI panel, you have access to a few things, the first one being a list of
all the elements of the interface and their respective MIDI CCs. For each element,
you can choose the MIDI CC number, the MIDI Channel as well as invert it or toggle
it if it is a switch and you want a button to toggle between the two states.
Here is for example how to set the MIDI CC 32 to the drawbar 5 of the upper manual:

In the MIDI panel, you locate the element you want to control, in our case, the
"Upper manual drawbar 5" then you simply click on the "learn" button next to it and
then move the physical controller of your choice, it will automatically map the CC
and the channel. You can also set this manually if you want.

There is also a default feature in UVI that allows to right click on an element on
the interface and learn a MIDI CC, but just remember that you can't use both
features at the same time, by default, the drawbars are tied to a CC, so if you want
to use your own CCs, you need to set the CC value in the assignment panel to -1 to
avoid conflict.

In this panel you can also control if you want to use different MIDI Channels to
play each manual (upper, lower and pedals) or if you want to split your keyboard. To
do that, just select the mode you want to use and change the split points and the
transpose value for each manual accordingly.

In the MISC section, there are a few other MIDI related things that you can control.
The global tuning of the organ in cents, you can turn it down or up a semitone.
The swell pedal minimum volume can be adjusted, this controls the overall volume of
the organ when the swell pedal is at its minimum.
You can also adjust the "swell pedal volume curve" to control how quickly it goes to
the maximum volume.
Some people requested to be able to sustain the tones using the sustain pedal, this
does not exist in a hammond, bt you can enable it here.
The "velocity to contact speed" controls how quickly all contacts under each key are
closed. This is not exactly how an organ works, but basically the harder you play,
the faster the contacts are closed.
Some keyboards only have a pitch bend wheel and controling teh Leslie speed for
example can be useful, so we added the option to use the pitch bend as the CC 127.
You can then simply set any elment to CC 127 in the list and use it.