Not exactly, the controls are laid out differently and in some cases their is more detailed control on the standalone Leslie plug. Also the B-3X Leslie is not usable except with it. That said, as a live player I have pretty well switched all my work over to B-3X because I like the dial in interaction of the amp stages and the Leslie and FX. I can dial up thunder real quick as a result instead of tweaking 2 plugins to get it right and it sounds incredible to me when compared to my previous combo patches using the IK. I still use the IK Leslie with the B5 Hammond clone which is a great woody sounding Hammond instrument from Acoustic Samples and they sound great together too.
If you scan through @Corky’s monster hammond clone thread, the overwhelming consensus seems to be that the IK Leslie is a clear winner - both stand-alone and integrated with the B-3X.
For me, this is definitely the case, especially for lead/ solo Hammond sounds - I’ve moved all my organ lead sounds to B-3X. For a less-resource-intensive variant (e.g. as an organ layer in a blended sound), I can live nicely with Blue3.
The IK is, without a doubt, the best on the market right now. I’ve tested everything I could get my hands on, but very few come close. Also, understand, the IK was co-developed with Leslie. Maybe someday, neural networks will be applied to a Leslie, as they are doing with current amp sims…truly realistic.
I love B3X because inside one VST you can tweak a lot: tonewheels are very good, percussion too, choice of stomp boxes, different amplifiers and cabinet (a heavy guitar one included), post cabinet effects, everything together allow a vast palette of organ sounds.
You save everything inside one patch. Then selected patches can be driven by midi program change.
You build a simple rack in Cantabile, and send program changes at your song start, for me the perfect solution.