IK Multimedia’s B-3X plugin is the first official emulation of the classic Hammond organ

Plugin emulations of the Hammond B3 organ have been around almost since the start of the virtual instrument era - Native Instruments’ B4 was released way back in 2000, you may recall - but, surprisingly, IK Multimedia’s B-3X is the first official one.

Produced in close collaboration with Hammond USA and Suzuki Music Corp of Japan, which owns the Hammond brand, this was created using IK’s modelling technology, emulating all 91 tonewheels from the original instrument. These are mixed in real time based on the notes being played and the drawbar settings, a method that’s designed to increase the levels of realism.

IK has also modelled all of the original settings, controls and circuits, and you can even emulate the audible effects of ‘aged’ components within the organ.

IK Multimedia Hammond B3-X

(Image credit: IK Multimedia)

Of course, effects play a part in many artists’ B3 tone, so IK has also included a 5-unit pedalboard in the Stomps section. This includes overdrive, graphic EQ, stompbox-style chorus-vibrato, wah-wah and spring reverb processors.

After this, the sounds goes to the Cabs section, where you can choose from a range of classic Leslie amps and speakers, alongside a parallel guitar amp and 4x12 cabinet. Finally, there are three rackmount studio effects that you can use to polish your sound: the Limiter 76 FET-based compressor, EQ-81 and a digital reverb.

The Hammond B-3X is available now for the introductory price of $199.99/€199.99 (regular price will be $299.99/€299.99) and runs both standalone and as a VST/AU/AAX plugin. Owners of qualifying IK products will be able to crossgrade for a reduced price.

Find out more on the IK Multimedia website. 

Ben Rogerson

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it. 

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