Hi hammond_guy & others,
While there are of course always things to improve and further perfect in any construction, I'm not entirely convinced that what you descride is really a problem in the HX3.
As you say, a lot of people never actually heard a real hammond A/B/C, even less tried one. Therefore, they've often selected one ore another clone as their reference for the hammond sound. It's a shame and from a musical point of view quite unlucky as not only the matter of taste in actual hammond organ sound is there, but also a big confusion about what it is; anything chorused sinus with a decent leslie effect sometimes seems to qualify for the ideal hammond sound with some...
On the other hand, there's actually a similar problem among those who hold on to the original. Why? Because the vast majority of all hammonds around are very, very old and essentially untouched. The ones that are in some way touched was often just repaired back to basic functionality when something went wrong (cleaning of failing contact points, change of tubes etc). There's a wide spread knowledge that the paper/wax capacitors are prone to drifting in a way that may change the sound significantly. Sometimes even one or another instrument with a certain defect in that matter is choosen as ideal and the holy grail of hammonds. Well, it may be a beautiful sound (as may some sounds in clones be too!) but it's certainly nothing like the original hammond. Anyone may have owned or played any number of old hammonds, but the common issue is that they are all very old, and from an electronic point of view actually close to dying.
Allright - filter caps may be set in the HX3, so what? Well, that's not all. There's a lot of old components in an original Hammond amplifier that quite clearly do colour the sound very, very much. As most people don't pay any attention whatsoever to what's inside the box with the tubes on it, this is very often left out in the equation. It means, however, that no single original tone wheel hammond, no matter it's age, does sound as it once did unless it has been very carefully restored. That kind of knowledge and that kind of work isn't very common and the number of organs put back to their actual, original, sound is small as most owners don't realize the situation or the need and if they do, they may for different reasons be reluctant to have the work done to their precious organs.
When this kind of full restoration is made to a Hammond, the sound is changed, sometimes a lot. It's (much) more well-defined in its details and nuances never heard in the previous state show themselves and - it brightens up quite some. It may help to remember that back in the days, blind test were made between the Hammond and the flute sound in pipe organs and listeners couldn't tell the difference. That would call for very, very bad listeners if performed with most hammond organs of today...
To sum this lengthy text up, this kind of defects and deviations due to aging electronics would be unlucky and quite unwise to bring into a physical model for a clone. Nobody would be satisfied anyway and the field of subjective opinions would be open for an eternal journey. So, when creating the model for a clone, the wise path to go is to model something reasonably close to the original state of the electronics, inevitably rendering a sound that's clearer, crispier and brighter than most actual organs around. It's then for the users to decide what effects they need to create their ideal sound, like for instance filters to remove some of the high ends. Most people anyway like to have some extra high end in place, removing it when not needed, rather than not having it when it just has to be there.
(MAFY Hammond & Leslie Service, Sweden)