Back to Martin's incredible proof-of-concept .fsm. I'm still baffled, Martin, how you managed to come up with TWO such neat & spectacular versions - assembler & code - at such speed
Respect!
I've only just got back to studying it all, and alas my knowledge is coming up short in several areas .. but anyway I'll keep at it for a bit longer before I begin the stupid questions
A couple of observations, if the project's to be taken further :
The harmonic level addition will need attention; at the moment it's linear (2+2=4), which results in over-adding. You can hear this if you draw 16, 8, 4 & 2 drawbars, hold down C2, hold down C4, and then play up A#2, B2, C3, C#3 ... you'll hear
C3 sounds much louder than it should, because on that note several drawbars are being added.
What's needed is 2+2=3! It's achieved in a real Hammond through resistive mixing - the more notes that are adding up the bigger the load, so the summing diminishes in proportion. It'll be pseudo-logarithmic or something. Sums.
Percussion needed - omg - which inevitably brings in attack & decay envelopes. Actually I'm very interested in expanding this principle to do other kinds of organ, more harmonics, multi-generators (particularly if they're so CPU efficient!) where slower attacks and decays would be required.
But I reckon everything else in clonewheel-land - chorus/vibrato, Leslie and so on are relatively easily achievable at the 'audio' end of things.