Vintage B3 provides several parameters that change its pitch behavior, adding flexibility that isn’t possible with the original instrument.
Vintage B3 is tuned to an equal-tempered scale. As a deviation from this standard tuning, you can stretch the tuning in the bass and treble ranges, much like acoustic pianos (especially upright pianos). The tones of clavinets, harpsichords, and pianos have inharmonicities in their harmonic structure. The frequencies of these overtones (harmonics) are not exact, whole-number multiples of the base frequency. This means that the overtones of lower (tuned) notes are more closely related to the main frequencies of the upper notes. Due to the lack of strings, this inharmonic relationship is not true of organs. The stretch feature was principally included for situations in which you want to use Vintage B3 in an arrangement alongside a recording of an acoustic piano.
You can also randomly detune the sound using the Warmth parameter, and you can even use the pitch bend wheel of your keyboard to bend the sound. The latter isn’t true to the original, but it’s a nice creative option.
Upper Stretch slider: Set the amount of deviation from the equal-tempered scale in the treble end of the sound. The higher the value, the further up the high notes are tuned. At a setting of 0, Vintage B3 is tuned to an equal-tempered scale, with each octave up exactly doubling the frequency.
Lower Stretch slider: Set the amount of deviation from the equal-tempered scale in the bass frequencies. The higher the value, the further down the low notes are tuned. At a setting of 0, Vintage B3 is tuned to an equal-tempered scale, with each octave below exactly halving the frequency.
Warmth slider: Set the amount of random deviation from an equal-tempered scale.
Note: Use of both Warmth and Stretch may result in a detuned sound, which is similar to a heavy chorus effect. Set Warmth to 0 if you’re after a purer sound.
Pitchbend Up/Down sliders: Independently set the upward/downward pitch bend sensitivity in semitone steps. The maximum sensitivity for upward bends is one octave. The Hammond B3 has no pitch bend facilities. Therefore, use of pitch bend is not suitable for realistic organ simulations, but it does provide a number of creative options.
Note: If you drag the Pitchbend Down slider to the far right, the tonewheels gradually slow down until they totally stop—when your keyboard pitch bend control is at the minimum position. This setting re-creates an effect heard at the end of “Knife Edge” by Emerson, Lake, and Palmer. Keith Emerson’s virtuoso Hammond work was recorded on a reel-to-reel tape recorder that was gently slowed to a total stop.