This from Guido at GSI:
The latest update v.1.1.1 of VB3-II, as well as the latest update v.1.40 for the Crumar Mojo61, have added some more refinements to the organ sound that have not been properly explained, and, since we’re talking about small details that enhance the experience of the whole tonewheel organ simulation, they’re not easy to be perceived especially from those who have never had a genuine Hammond B3 at home or did not dedicate it enough time to appreciate the nuances. Here’s the word… we’re talking about nuances. So… I have been asked what I mean with “complex cross-talk on the upper manual”, I should have explained better… my apology. Right now I’m unable to make a video, but I invite you to try this. Use your VB3-II or your Crumar Mojo61, on the upper manual, use only the first drawbar, play the first F note, then play the F note 3 octaves above, finally, play them both together… you’ll hear an additional tone mixing into the sound only when the two keys are played together. Or you can try the first C and 3rd F, or other combinations with the first 4 drawbars, or just play the triad of C major (C-E-G) on the 3rd octave then play the major scale with your left hand starting from the lowest C, you’ll hear tones appearing along with that bass note that will disappear if you release the chord. This is not “leakage” (that’s been in VB3 since day 1), and not the common cross-talk that most digital clones implement, this is something that is present in a genuine Hammond B3 (or C3, A100 series, especially the models manufactured after 1960, even more with models manufactured after 1970). Will this add something to the sound, to the performance? Well… it’s a detail, the entire life is made of details… if you look someone from a distance you can see only a few colors, but when you look closer, you’ll discover more colors than you can count. Yours, Guido.