Hi David-san. Yes, the Melda MVintage Rotary is my Leslie emulation of choice, and each instance of GSI VB3 goes through it in my setup. I haven’t tried the IK T-RackS Leslie, but I’ll check it out. I did try the PSP Lotary, and it doesn’t measure up in terms of matching the real thing to my ears. I had high hopes for it as my experience with PSP is that they make top quality plugins.
I took a screen shot of the wiring on one of my GSI VB3 racks to clarify how I have the MVintage Rotary setup. From the top down, the T6 - 88 MIDI in block is an omni in block so that I can play the organ from either keyboard. My lower keyboard is an 88 key, which allows me to take advantage of the VB3 capability for key triggered drawbar set changes, like the reverse color keys at the left end of the keyboards on an actual Hammond. The octave of keys below the range of the organ calls up those preset changes, very handy, and authentic to the actual Hammond experience. Next is a MIDI filter to filter out sustain pedal events from going to the VB3, on which the Leslie emulation is shut off inside the plugin, as I don’t want it changing speed and conflicting with the Melda. Next to the VB3 is another MIDI input block in which everything is filtered out except sustain messages. Thats plugged into the Melda to control speed switching. I have the MIDI filter and the sustain control block open in the screen shot just for clarity. They’re not normally visible.
Here’s a screenshot of that rackspace wiring diagram:
While it has nothing to do with the organ setup and Leslie control, I’ll mention in passing regarding the final block in the chain, that every one of my sound sources within GP goes through a console emulation, of which I have many, and choose them according to how I want to match their sonic footprint with the sound source I’m processing in each rackspace. From there, each rackspace goes to the same global rackspace which acts as a final mixbuss processing chain. Here’s a screenshot of that global rackspace processing chain:
The first block, True Iron, is an excellent emulation of various tubes, transformers, etc., from classic analog gear, for some weight and color. Next is a very versatile processor which I have setup for some stereo width and light dynamics control. That all goes into a remarkable compressor made by DMG Audio, which gives me presence, thickness and further dynamic control. In my experience, you get much better results from serial compression, using a couple of compressors with moderate settings instead of trying to squash things into submission with one compressor with heavy handed settings. It also gives you the option to, for instance, start with a fast VCA or FET style compressor to catch transient peaks, followed by a slower, optical style compressor for warmth and broader overall level control.
Hope this all helps. I understand some of this might be elementary for some, boggling for others. Use what’s appropriate for you, ignore the rest!