Jon Hammond at the Organ and Microphone
#WATCHMOVIE HERE:
Side Camera - HeadPhone Jon's archive https://archive.org/details/HeadPhoneFunkMasterpieceJonHammondBandWithBernardPurdieSideCamera Views
173 #173 Youtube https://youtu.be/VfGi_QFZalc 189 views #189 Usage Attribution-Noncommercial-No Derivative Works 3.0 Topics Funk, Head Phone, NAMM Show,
Bernard Purdie, Drums, Hammond Organ, Jon Hammond, Band, B3 organ Allowed on Timeline Side Camera - thanks Tino Pavlis & Joachim Wiesel Jon Hammond Band showcase for Hammond Organ USA / Suzuki
Musical Instruments at The NAMM Show in honor of 80th anniversary of Hammond Organs on the Sound Soul Summit program - Jon Hammond original funk composition "Head Phone" featuring legendary Fatback
Funk drummer Bernard "Pretty" Purdie and Jon's long-time colleague Joe Berger on guitar, from Tokyo Japan Koei Tanaka Suzuki Harmonica artist Suzuki Harmonica - Alex Budman tenor saxophone and Jon
Hammond at the B3mk2 organ and high-power model 3300 Leslie Speaker with FOH mix by Brian English Audio Denny Mack - MC Stephen Fortner & Scott May 
Side Camera - thanks Tino Pavlis & Joachim Wiesel Jon Hammond Band showcase for Hammond Organ USA / Suzuki Musical Instruments at The NAMM Show in honor of
80th anniversary of Hammond Organs on the Sound Soul Summit program *Note: Jon Hammond Band played immediately before the late great KEITH EMERSON on the program, Keith was up next - Jon Hammond
original funk composition "Head Phone" featuring legendary Fatback Funk drummer Bernard "Pretty" Purdie and Jon's long-time colleague Joe Berger on guitar, from Tokyo Japan Koei Tanaka Suzuki
Harmonicas artist Suzuki Harmonica - Alex Budman tenor saxophone and Jon Hammond at the B3mk2 organ and high-power model 3300 Leslie Speaker with FOH mix by Brian English Audio Denny Mack - Youtube
LINK: https://youtu.be/1r0SSgNoJXU - MC Stephen Fortner and Scott May Producer Jon Hammond Language English Interviews Sennheiser Jon Hammond Headphones
Microphones Organ Accordion Music Archive NAMM Musikmesse L to R Dr. Andreas Sennheiser, Jon Hammond, Daniel Sennheiser 
Jon's archive http://ia601507.us.archive.org/7/items/HeadPhoneStickWithSennheiser/Head%20Phone%20stick%20with%20Sennheiser.mp4
Sennheiser (headphones) Momentum series 
with tribute to Lutz
Büchner on solo section: Head Phone stick with Sennheiser (headphones) Jon Hammond's 20th annual Musikmesse Session in Jazzkeller Hofheim - funky jazz with Giovanni Totò Gulino drums, Peter Klohmann
tenor saxo, Joe Berger guitar, Jon Hammond at the Sk1 Hammond organ - Jon's keyboard stand by Bespeco Professional, Audio: Philipp, Konrad Neupert, Marvin Gans Jazzkeller Hofheim Team - special
thanks Jeff Guilford / JJ guitars for operating the camera http://www.HammondCast.com Sennheiser HD 25-1 
NAMM Oral History
Interview Jon Hammond by Dan Del Fiorentino and Tony Arambarri Jon's archive https://archive.org/details/JonHammondJonHammond_NAMM.orgOralHistoryInterviewDate_January13_2011FullVersion_0
Views 144 #144 Youtube https://youtu.be/Faq_A58v4sE 275 views #275 Usage Attribution-NonCommercial-NoDerivs Topics NAMM Oral History, Musikmesse, Mini-B,
NAMM, G37, G27, Leslie Speaker, Onions, Jazz, Blues, Musicians Union, Local 802, ASCAP, KYOU Radio, Anaheim, Frankfurt, B3 Organ, XB-2, Leslie Speaker 
Jon Hammond | NAMM.org Oral History Interview Date: January 13, 2011
namm.org/ library/ oral-history/ jon-hammond
Jon Hammond
Interview Date: January 13, 2011
Job
Title: President and Founder
Company: Jon Hammond & Associates
accordions electric organs Hammond B-3 Hammond Organs Jazz Music Manufacturing Musicians
Jon Hammond
Jon Hammond has successfully
created a career based on his musical talents and his passion for the music industry! As a musician Jon has performed with many legendary players and as a clinician and product artist he has
introduced many innovative products to music stores and their customers over the last 30 plus years. Jon is closely identified with the two main products of his career, the Excelsior Accordion and
the Digital B3 Organ.
Subject Info Jon Hammond Interview Date: January 13, 2011 Job Title: President and Founder Jon Hammond & Associates Jon Hammond has successfully created a ... of his
career, the Excelsior Accordion and the Digital B3Organ. (accordions, electric organs, Hammond B-3, Hammond Organs) 512KB MPEG4 download download 1 file MPEG4 download download 1 file TORRENT
download "Interview: Co-CEO Dr Andreas Sennheiser" credit: PSN Europe http://www.psneurope.com/interview-co-ceo-dr-andreas-sennheiser/ "Dr Andreas Sennheiser took over the running of his family
business with his brother Daniel in May of 2013. In the three years since, the company has released some notable technology – but there have been some serious changes at the company along the way. In
an wide-ranging and candid interview, Dave Robinson discovers what the young co-CEO thinks about the $50k Orpheus headphones, the restructuring of the company, the fiercely competitive marketplace
and what gets him out of bed in a morning… Let’s begin with AMBEO, your 3D, immersive audio concept. Dr Andreas Sennheiser: At CES, we launched something we’ve been working on for the last 5-7 years:
algorithms for ‘immersive audio’. When we started research, we thought it was going to be relevant: it was a gut feeling that what exists wasn’t good enough. While we did research on these
algorithms, we didn’t know where it was going to go, but with big content providers such as Universal and Red Bull Media embarking in 360-degree video and immersive audio recordings in the last 12-18
months, suddenly a huge new world has opened up for us. So, we’ve started to compile all the technology into distinct solutions for recording, mixing, processing, playing back. And that’s what we
showed with the AMBEO brand at CES [and NAMM and PL+S]. It’s the starting point of something we will develop with our customers. We really are positioning ourselves to take advantage of whatever 3D
format emerges, a format with a higher emotional impact. Many artists have said to us, the only way to really connect with the audience the way they want to is to play live – but if they had a format
that captured that, so that users at home could listen to it in a way similar to actually being there, then they would have a higher engagement with the listeners. That’s when we got serious about
bringing AMBEO to the market. At NAMM you demonstrated a surround-style ‘tetra mic’, with its ‘virtual miking technique’ software, which could change the way things are recorded… The interesting
thing about this is that we have to combine different technologies in order to make the immersive experience perfect; to integrate different technologies to make the transition from reality to
virtual reality seamless. With third party involvement? By presenting it in its initial stage, it’s an invitation to our customers to think ahead, whether that’s a possible approach for them, how
they would use it, and to find new applications for it. It’s all software based at the moment – we have a virtualisation algorithm, an upmix algorithm – we don’t really have a hardware decoder at
this point, but if we see a stronger need, we can go in that direction, too. Let’s talk about Orpheus, the HE 1, the ‘world’s most expensive headphone’. The HE 1 for us is a product, a statement, and
an indication of our innovation culture, to a certain extent. We could have said, we still have the Orpheus from 1991, it’s still considered the best headphone in the world, why do something better?
But part of our culture is to not be happy with anything that exists now, regardless of whether we invented it or not. About 10 years ago, we decided it was the time for the world to experience the
next level. On one hand, it’s beyond common sense. But, on the other, by being so intensively on the limits of physics, we learn so much for other applications. You make it sound like the Space
Programme… Yes, exactly, and this pushes the entire Sennheiser culture into new ways. Think about the effect this has at the company when a group of people bring out a flagship that will be there for
another couple of decades. That has a huge motivational impact on the other employees; at the same time, it tells the industry that what exists is not good enough for Sennheiser, so we will push it
forward. I’ve heard the HE 1s. They make sound ‘visceral’, I would suggest. People have ‘seen’ things, heard things which they haven’t heard before, or been able to describe. Do you think they are
worth $50,000? [Immediately] Absolutely. No doubt. What sort of reaction have you had to them? A product like this is dividing: people who rave about it, others who say, Is it worth the money? But to
me, it’s not the point: it’s about buying into an exclusivity which sets you apart, in a positive way, from the masses. It’s connoisseurship. From the feedback we’ve got, most of the customers who
are interested in the HE 1 are audiophiles who say, Audio is my life. The original Orpheus had a run of some 300 units. When HE 1 ships later this year, will that be limited to 300 too? We are not
planning any limitation this time: but it is limited by the price and the capacity – making one per day – and the level of customisation. We have significant requests for customised versions. You
mean I can have them in pink? Someone wants it in solid jade instead of marble, for instance. The exclusivity includes the concept of a one-off product, as long as the sound properties are not
affected. How many do you think you’ll be making? We have more than 50 ordered. I don’t believe it’s going to stop at 100 or 200. I personally believe that it’s something that’s going to be with you
for life, and we will offer servicing on it so it will be with you as long as you want to enjoy it. Turning to the other end of the market, consumer headphones: it’s an increasingly aggressive and
crowded marketplace. What is Sennheiser doing there? We’re trying to be more focused on specific target groups. With the Momentum line, for example, we are targeting a specific type of personality,
people who have a certain style and way of expressing themselves. We’re not just looking at price points and shelf space, and that will set us apart from just having X metres of headphone hangers.
You put into place a ‘selective distribution’ model a couple of years ago – other makes have done that too… It ensures that the brand is represented in the appropriate way. If [our models] were at a
cash-and-carry checkout for five pounds [six euros], it would just damage the brand. You can’t credibly have a product like that and the HE 1. Are you worried that brands like Beats are changing the
market? It’s not necessarily a concern – it is, rather, keeping us on our toes. That increasingly competitive environment was beneficial in two ways: one, it grew the market; two, it forced us to
think what Sennheiser is all about, what is at our core, what is our heritage. We’re the only ones to have the 1968 invention of the open-back HD 414 headphone; we’re the only one that has the
innovation culture and heritage. How can we use that to be more relevant and have a higher value for the customer? So, with the success of the Momentum line, the higher end HD 800 line, the
professional headphones – the HD 25 still being an icon – this process has been healthy for us because it gave us a stronger sense of identity which we are able to communicate. How successful has the
D9000 digital wireless system been? It’s a huge success, especially in the last year where the ‘Digital Dividend’ [spectrum sell-off] in Japan gave us extra demand and business. Digital 9000 is
successful beyond our initial imagination for a simple reason: we positioned and developed it as a system to be used on stage for singers and touring, because it was so flexible. But the corporate
world has discovered it, because of its high-level encryption and flexibility in use. We saw a lot of companies adopt it, such as a major American retail chain. There’s a huge market there. Since you
and your brother Daniel became joint CEOs three years ago, you’ve restructured the company. I get the impression, some of that has been easy, and some of it has been hard. Is that correct? We went
from a territorial approach to a sales channel approach. In Europe, there’s no borders for commerce. Consumer is one part, professional is another, and so on. In a reorganisation like that, you
always have a working assumption. Sometimes you assume, sometimes you just hope for the best. The reorganisation was a great success, especially with the feedback we got from our customers. Did
everything work out like we planned? With a change of that magnitude, we discovered things we had to fine-tune. That was a learning experience. For us it was more important to go in the direction
that makes sense for the future rather than stay with something we know but might not be any longer relevant. Some of your ideas were quite radical: staff had to look at their roles within the
company and say, this is what I do, and this is what I want to do… You are spot on. We had hundreds of people in new roles, so there was an element of change management. …Which can be difficult.
Absolutely! And I have empathy with people who are uncertain for a period, who have to find their role and it’s not all clear from Day One. But part of our culture is to go through changes with our
employees, and that means everyone can design their future and their fate, which brings the downside of uncertainty with it. But some people don’t want to do that. Yes, but it’s part of our nature to
involve people in their own destiny rather than giving them 100% certainty but no influence. The impression I got from the staff video, made for the company’s 70th anniversary last year, is that your
employees are pleased to be a part of the Sennheiser phenomenon. The smiles from the people in the factory were natural, not forced. The passion and commitment, the joy of what we do is everywhere at
Sennheiser. And that’s really part of my personal motivation. Seeing people committed to that extent gives me a reason to go forward. Do you ever feel the burden of the family legacy, though? When
you wake up, do you ever think, [in panicked voice] ‘Oh God, I’m running Sennheiser!’…? [Smiling broadly] With great responsibility comes a certain weight. You have to think about what is good for
the company, the customers, the employees. There are moments of doubt and pressure, but all-in-all, what makes me so confident of getting up in the morning is that I’m not alone here, there are 2,700
people who are highly committed and enjoy what they do. It’s not on my shoulders, it’s on 2,700 pairs of shoulders making their own destiny. With that in my mind, it’s easy to get up and assume that
responsibility. Good answer! What do you think you still need to do at the company? Become quicker, more nimble to reacting to customer feedback. Sennheiser seems to think about what it’s going to
do, thinks some more, and then makes its move. It took you ages to adopt Dante, for instance. That approach can be positive – but negative too. If 80% of our decisions are well-thought through and
strategically directed, that’s exactly what we need. In hindsight, we could have taken some decisions earlier. On the other hand, ‘German engineering and thinking’ takes time. What our next challenge
will be, is to preserve the thoroughness of where we want to go, but add an element of ‘start-up’ activity. A start-up culture with 70 years of experience, if you will. If we can do that, then we
will be even quicker when supplying the customers with what they want. Last question: the factory is on fire – you run in and grab three items. What are they? First, the photo of my grandfather
[Fritz Sennheiser, who started the company]. Second, the Emmy Award. [In 2013, Sennheiser was awarded the Philo T. Farnsworth Award, presented to a company whose “contributions over time have
significantly impacted television technology and engineering”.] Third, my trolley, which holds all the stuff I use for daily work… But which one product do you put on that trolley? The D9000. Not a
classic microphone or headphone? D9000 is a statement of innovation, and is ‘classic’ at the same time. It’s one of a kind. It’s an icon. It shows all the competency that’s in this company. www.sennheiser.com Sennheiser Wiki https://en.wikipedia.org/wiki/Sennheiser Sennheiser electronic GmbH &
Co. KG (/ˈsɛnhaɪzər/; branded Sennheiser) is a private German audio company specializing in the design and production of a wide range of both consumer and high fidelity products, including
microphones, headphones, telephony accessories, and avionics headsets for consumer, professional, and business applications. ndustry Audio electronics Founded 1945 (as Labor W) Headquarters Wedemark,
Hanover, Lower Saxony, Germany Key people Fritz Sennheiser, founder Daniel Sennheiser, CEO and Chairman of the Board Products Audio electronics for consumer, professional, and business uses Owner
Sennheiser family Number of employees 2,183 as of 2011 The company was founded in 1945, just a few weeks after the end of World War II, by Fritz Sennheiser (1912–2010)[2][3] and seven fellow
engineers of the University of Hannover in a laboratory called Laboratorium Wennebostel (shortened, "Lab W"). The laboratory was named after the village of Wennebostel in the municipality of Wedemark
to where it had been moved due to the war. Its first product was a voltmeter.[1] Lab W began building microphones in 1946 with the DM1, and began developing them in 1947 with the DM2. By 1955, the
company had 250 employees, and had begun production of many products including but not limited to: geophysical equipment, the Noise-Compensated microphone (DM4), microphone transformers, mixers, and
miniature magnetic headphones. Labor W was renamed 'Sennheiser electronic' in 1958.[citation needed] In 1968, Sennheiser released the world's first open headphones.[4] The introduction of open
headphones affected the headphone market as they were able to produce a more natural sound that many users preferred.[5] Sennheiser was transformed into a limited partnership (KG) in 1973. In 1980,
the company entered the aviation market, supplying Lufthansa with headsets.[6][7] The company began producing modern wireless microphones in 1982, the same year when founder Fritz Sennheiser handed
the management of the company over to his son, Jörg Sennheiser. In 1987, Sennheiser was awarded at the 59th Academy Awards for its MKH 816 shotgun microphone. Also in 1991, Georg Neumann GmbH,
Berlin, which builds studio microphones, became a part of Sennheiser.[8][9] In 1996, Sennheiser received an Emmy Award for its advancements in RF wireless technology.[10] Also in 1996, Sennheiser
became a private limited company (GmbH and Co. KG). Since then, Sennheiser has maintained its tradition of high quality audio technology, and still maintains those high standards today. Professor Dr.
Fritz Sennheiser died in 2010. On July 1, 2013, Daniel Sennheiser and Andreas Sennheiser were promoted to the position of CEO responsible for Sennheiser electronic GmbH & Co. KG.[11] In October
2013, Sennheiser received the prestigious Philo T. Farnsworth Award at the 65th Primetime Emmy®Engineering Awards in Hollywood.[12] In May 2014, Sennheiser founded a new competence center for
innovative streaming solutions, Sennheiser Streaming Technology GmbH (SST). Locations Sennheiser is headquartered in the municipality of Wedemark, Germany (near Hannover). Its United States
headquarters is located in Old Lyme, Connecticut. The company has factories in Wennebostel (Wedemark, near Hanover); Tullamore, Ireland (since 1990); and Albuquerque, New Mexico (since 2000).
Sennheiser's R&D facilities are located in Germany, Denmark, Switzerland, Singapore and San Francisco, California. Products This section needs additional citations for verification. Please help
improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2016) (Learn how and when to remove this template message) Sennheiser is
mainly known for its consumer headphones and professional microphones. The most famous microphones by Sennheiser are the MKH 416 short shotgun, which came to be the Hollywood standard shotgun
microphone, and the 816, similar in design with longer reach. Its also makes wireless microphones. Subsidiary products include aviation, multimedia and gaming headsets, micro-Hifi systems,
conferencing systems, speakers and amplifiers. Jon's archive https://archive.org/details/JoeBergerNammOralHistoryInterviewUneditedLongVersionOfficial55 Youtube
https://youtu.be/uFFMVHCkZ8w Joe Berger NAMM Oral History Interview Unedited Long Version Official 55 minutes 4 seconds by Jon Hammond Usage
Attribution-Noncommercial-No Derivative Works 3.0 Topics concert production, electric guitars, namm show, frankfurt musikmesse, joe berger, oral history, john entwistle, concert tours 
Joe Berger Interview Date: January 20, 2012 Job
Title: Musician, Product Endorser - short version here also http://www.namm.org/library/oral-history/joe-berger Joe Berger knows
sound! Joe has been mixing sound for over 30 years and he stopped counting at 35,000 bands! Also a virtuoso guitar player with his own definitive, unique playing style and "ear", Joe has jammed with
the likes of John Entwistle and Jack Bruce. He has also been a fixture at music trade shows for decades as a guitar demonstrator, having set a record for most hours played at a single trade show.
Tony Arambarri, Dan Del Fiorentino - NAMM Historians Categories: concert production electric guitars Guitars-Amps-Fretted Jon Hammond mixing consoles Musicians Musik Messe Frankfurt NAMM Show New
York City NY product endorsers Run time 55 minutes 4 seconds Audio/Visual sound 
Jon's archive https://archive.org/details/JonHammondsMusikmesseWarmUpPartyJazzkeller Alpha Jon Hammond - http://hammondcast.tumblr.com 
Headphone, Funk Jazz, Side Camera, Jon Hammond #Headphones #JazzFunk #HammondOrgan
Side Camera - thanks Tino Pavlis & Joachim Wiesel Jon Hammond Band showcase for Hammond Organ USA / Suzuki Musical Instruments at The NAMM Show in honor of
80th anniversary of Hammond Organs on the Sound Soul Summit program *Note: Jon Hammond Band played immediately before the late great KEITH EMERSON on the program, Keith was up next - Jon Hammond
original funk composition "Head Phone" featuring legendary Fatback Funk drummer Bernard "Pretty" Purdie and Jon's long-time colleague Joe Berger on guitar, from Tokyo Japan Koei Tanaka Suzuki
Harmonicas artist Suzuki Harmonica - Alex Budman tenor saxophone and Jon Hammond at the B3mk2 organ and high-power model 3300 Leslie Speaker with FOH mix by Brian English Audio Denny Mack - Youtube
LINK: https://youtu.be/1r0SSgNoJXU - MC Stephen Fortner and Scott May Producer Jon Hammond Language English Interviews Sennheiser Jon Hammond Headphones
Microphones Organ Accordion Music Archive NAMM Musikmesse L to R Dr. Andreas Sennheiser, Jon Hammond, Daniel Sennheiser 
Jon's archive http://ia601507.us.archive.org/7/items/HeadPhoneStickWithSennheiser/Head%20Phone%20stick%20with%20Sennheiser.mp4
Sennheiser (headphones) Momentum series 
with tribute to Lutz
Büchner on solo section: Head Phone stick with Sennheiser (headphones) Jon Hammond's 20th annual Musikmesse Session in Jazzkeller Hofheim - funky jazz with Giovanni Totò Gulino drums, Peter Klohmann
tenor saxo, Joe Berger guitar, Jon Hammond at the Sk1 Hammond organ - Jon's keyboard stand by Bespeco Professional, Audio: Philipp, Konrad Neupert, Marvin Gans Jazzkeller Hofheim Team - special
thanks Jeff Guilford / JJ guitars for operating the camera http://www.HammondCast.com Sennheiser HD 25-1 
NAMM Oral History
Interview Jon Hammond by Dan Del Fiorentino and Tony Arambarri Jon's archive https://archive.org/details/JonHammondJonHammond_NAMM.orgOralHistoryInterviewDate_January13_2011FullVersion_0
Views 144 #144 Youtube https://youtu.be/Faq_A58v4sE 275 views #275 Usage Attribution-NonCommercial-NoDerivs Topics NAMM Oral History, Musikmesse, Mini-B,
NAMM, G37, G27, Leslie Speaker, Onions, Jazz, Blues, Musicians Union, Local 802, ASCAP, KYOU Radio, Anaheim, Frankfurt, B3 Organ, XB-2, Leslie Speaker 
Jon Hammond | NAMM.org Oral History Interview Date: January 13, 2011
namm.org/ library/ oral-history/ jon-hammond
Jon Hammond
Interview Date: January 13, 2011
Job
Title: President and Founder
Company: Jon Hammond & Associates
accordions electric organs Hammond B-3 Hammond Organs Jazz Music Manufacturing Musicians
Jon Hammond
Jon Hammond has successfully
created a career based on his musical talents and his passion for the music industry! As a musician Jon has performed with many legendary players and as a clinician and product artist he has
introduced many innovative products to music stores and their customers over the last 30 plus years. Jon is closely identified with the two main products of his career, the Excelsior Accordion and
the Digital B3 Organ.
Subject Info Jon Hammond Interview Date: January 13, 2011 Job Title: President and Founder Jon Hammond & Associates Jon Hammond has successfully created a ... of his
career, the Excelsior Accordion and the Digital B3Organ. (accordions, electric organs, Hammond B-3, Hammond Organs) 512KB MPEG4 download download 1 file MPEG4 download download 1 file TORRENT
download "Interview: Co-CEO Dr Andreas Sennheiser" credit: PSN Europe http://www.psneurope.com/interview-co-ceo-dr-andreas-sennheiser/ "Dr Andreas Sennheiser took over the running of his family
business with his brother Daniel in May of 2013. In the three years since, the company has released some notable technology – but there have been some serious changes at the company along the way. In
an wide-ranging and candid interview, Dave Robinson discovers what the young co-CEO thinks about the $50k Orpheus headphones, the restructuring of the company, the fiercely competitive marketplace
and what gets him out of bed in a morning… Let’s begin with AMBEO, your 3D, immersive audio concept. Dr Andreas Sennheiser: At CES, we launched something we’ve been working on for the last 5-7 years:
algorithms for ‘immersive audio’. When we started research, we thought it was going to be relevant: it was a gut feeling that what exists wasn’t good enough. While we did research on these
algorithms, we didn’t know where it was going to go, but with big content providers such as Universal and Red Bull Media embarking in 360-degree video and immersive audio recordings in the last 12-18
months, suddenly a huge new world has opened up for us. So, we’ve started to compile all the technology into distinct solutions for recording, mixing, processing, playing back. And that’s what we
showed with the AMBEO brand at CES [and NAMM and PL+S]. It’s the starting point of something we will develop with our customers. We really are positioning ourselves to take advantage of whatever 3D
format emerges, a format with a higher emotional impact. Many artists have said to us, the only way to really connect with the audience the way they want to is to play live – but if they had a format
that captured that, so that users at home could listen to it in a way similar to actually being there, then they would have a higher engagement with the listeners. That’s when we got serious about
bringing AMBEO to the market. At NAMM you demonstrated a surround-style ‘tetra mic’, with its ‘virtual miking technique’ software, which could change the way things are recorded… The interesting
thing about this is that we have to combine different technologies in order to make the immersive experience perfect; to integrate different technologies to make the transition from reality to
virtual reality seamless. With third party involvement? By presenting it in its initial stage, it’s an invitation to our customers to think ahead, whether that’s a possible approach for them, how
they would use it, and to find new applications for it. It’s all software based at the moment – we have a virtualisation algorithm, an upmix algorithm – we don’t really have a hardware decoder at
this point, but if we see a stronger need, we can go in that direction, too. Let’s talk about Orpheus, the HE 1, the ‘world’s most expensive headphone’. The HE 1 for us is a product, a statement, and
an indication of our innovation culture, to a certain extent. We could have said, we still have the Orpheus from 1991, it’s still considered the best headphone in the world, why do something better?
But part of our culture is to not be happy with anything that exists now, regardless of whether we invented it or not. About 10 years ago, we decided it was the time for the world to experience the
next level. On one hand, it’s beyond common sense. But, on the other, by being so intensively on the limits of physics, we learn so much for other applications. You make it sound like the Space
Programme… Yes, exactly, and this pushes the entire Sennheiser culture into new ways. Think about the effect this has at the company when a group of people bring out a flagship that will be there for
another couple of decades. That has a huge motivational impact on the other employees; at the same time, it tells the industry that what exists is not good enough for Sennheiser, so we will push it
forward. I’ve heard the HE 1s. They make sound ‘visceral’, I would suggest. People have ‘seen’ things, heard things which they haven’t heard before, or been able to describe. Do you think they are
worth $50,000? [Immediately] Absolutely. No doubt. What sort of reaction have you had to them? A product like this is dividing: people who rave about it, others who say, Is it worth the money? But to
me, it’s not the point: it’s about buying into an exclusivity which sets you apart, in a positive way, from the masses. It’s connoisseurship. From the feedback we’ve got, most of the customers who
are interested in the HE 1 are audiophiles who say, Audio is my life. The original Orpheus had a run of some 300 units. When HE 1 ships later this year, will that be limited to 300 too? We are not
planning any limitation this time: but it is limited by the price and the capacity – making one per day – and the level of customisation. We have significant requests for customised versions. You
mean I can have them in pink? Someone wants it in solid jade instead of marble, for instance. The exclusivity includes the concept of a one-off product, as long as the sound properties are not
affected. How many do you think you’ll be making? We have more than 50 ordered. I don’t believe it’s going to stop at 100 or 200. I personally believe that it’s something that’s going to be with you
for life, and we will offer servicing on it so it will be with you as long as you want to enjoy it. Turning to the other end of the market, consumer headphones: it’s an increasingly aggressive and
crowded marketplace. What is Sennheiser doing there? We’re trying to be more focused on specific target groups. With the Momentum line, for example, we are targeting a specific type of personality,
people who have a certain style and way of expressing themselves. We’re not just looking at price points and shelf space, and that will set us apart from just having X metres of headphone hangers.
You put into place a ‘selective distribution’ model a couple of years ago – other makes have done that too… It ensures that the brand is represented in the appropriate way. If [our models] were at a
cash-and-carry checkout for five pounds [six euros], it would just damage the brand. You can’t credibly have a product like that and the HE 1. Are you worried that brands like Beats are changing the
market? It’s not necessarily a concern – it is, rather, keeping us on our toes. That increasingly competitive environment was beneficial in two ways: one, it grew the market; two, it forced us to
think what Sennheiser is all about, what is at our core, what is our heritage. We’re the only ones to have the 1968 invention of the open-back HD 414 headphone; we’re the only one that has the
innovation culture and heritage. How can we use that to be more relevant and have a higher value for the customer? So, with the success of the Momentum line, the higher end HD 800 line, the
professional headphones – the HD 25 still being an icon – this process has been healthy for us because it gave us a stronger sense of identity which we are able to communicate. How successful has the
D9000 digital wireless system been? It’s a huge success, especially in the last year where the ‘Digital Dividend’ [spectrum sell-off] in Japan gave us extra demand and business. Digital 9000 is
successful beyond our initial imagination for a simple reason: we positioned and developed it as a system to be used on stage for singers and touring, because it was so flexible. But the corporate
world has discovered it, because of its high-level encryption and flexibility in use. We saw a lot of companies adopt it, such as a major American retail chain. There’s a huge market there. Since you
and your brother Daniel became joint CEOs three years ago, you’ve restructured the company. I get the impression, some of that has been easy, and some of it has been hard. Is that correct? We went
from a territorial approach to a sales channel approach. In Europe, there’s no borders for commerce. Consumer is one part, professional is another, and so on. In a reorganisation like that, you
always have a working assumption. Sometimes you assume, sometimes you just hope for the best. The reorganisation was a great success, especially with the feedback we got from our customers. Did
everything work out like we planned? With a change of that magnitude, we discovered things we had to fine-tune. That was a learning experience. For us it was more important to go in the direction
that makes sense for the future rather than stay with something we know but might not be any longer relevant. Some of your ideas were quite radical: staff had to look at their roles within the
company and say, this is what I do, and this is what I want to do… You are spot on. We had hundreds of people in new roles, so there was an element of change management. …Which can be difficult.
Absolutely! And I have empathy with people who are uncertain for a period, who have to find their role and it’s not all clear from Day One. But part of our culture is to go through changes with our
employees, and that means everyone can design their future and their fate, which brings the downside of uncertainty with it. But some people don’t want to do that. Yes, but it’s part of our nature to
involve people in their own destiny rather than giving them 100% certainty but no influence. The impression I got from the staff video, made for the company’s 70th anniversary last year, is that your
employees are pleased to be a part of the Sennheiser phenomenon. The smiles from the people in the factory were natural, not forced. The passion and commitment, the joy of what we do is everywhere at
Sennheiser. And that’s really part of my personal motivation. Seeing people committed to that extent gives me a reason to go forward. Do you ever feel the burden of the family legacy, though? When
you wake up, do you ever think, [in panicked voice] ‘Oh God, I’m running Sennheiser!’…? [Smiling broadly] With great responsibility comes a certain weight. You have to think about what is good for
the company, the customers, the employees. There are moments of doubt and pressure, but all-in-all, what makes me so confident of getting up in the morning is that I’m not alone here, there are 2,700
people who are highly committed and enjoy what they do. It’s not on my shoulders, it’s on 2,700 pairs of shoulders making their own destiny. With that in my mind, it’s easy to get up and assume that
responsibility. Good answer! What do you think you still need to do at the company? Become quicker, more nimble to reacting to customer feedback. Sennheiser seems to think about what it’s going to
do, thinks some more, and then makes its move. It took you ages to adopt Dante, for instance. That approach can be positive – but negative too. If 80% of our decisions are well-thought through and
strategically directed, that’s exactly what we need. In hindsight, we could have taken some decisions earlier. On the other hand, ‘German engineering and thinking’ takes time. What our next challenge
will be, is to preserve the thoroughness of where we want to go, but add an element of ‘start-up’ activity. A start-up culture with 70 years of experience, if you will. If we can do that, then we
will be even quicker when supplying the customers with what they want. Last question: the factory is on fire – you run in and grab three items. What are they? First, the photo of my grandfather
[Fritz Sennheiser, who started the company]. Second, the Emmy Award. [In 2013, Sennheiser was awarded the Philo T. Farnsworth Award, presented to a company whose “contributions over time have
significantly impacted television technology and engineering”.] Third, my trolley, which holds all the stuff I use for daily work… But which one product do you put on that trolley? The D9000. Not a
classic microphone or headphone? D9000 is a statement of innovation, and is ‘classic’ at the same time. It’s one of a kind. It’s an icon. It shows all the competency that’s in this company. www.sennheiser.com Sennheiser Wiki https://en.wikipedia.org/wiki/Sennheiser Sennheiser electronic GmbH &
Co. KG (/ˈsɛnhaɪzər/; branded Sennheiser) is a private German audio company specializing in the design and production of a wide range of both consumer and high fidelity products, including
microphones, headphones, telephony accessories, and avionics headsets for consumer, professional, and business applications. ndustry Audio electronics Founded 1945 (as Labor W) Headquarters Wedemark,
Hanover, Lower Saxony, Germany Key people Fritz Sennheiser, founder Daniel Sennheiser, CEO and Chairman of the Board Products Audio electronics for consumer, professional, and business uses Owner
Sennheiser family Number of employees 2,183 as of 2011 The company was founded in 1945, just a few weeks after the end of World War II, by Fritz Sennheiser (1912–2010)[2][3] and seven fellow
engineers of the University of Hannover in a laboratory called Laboratorium Wennebostel (shortened, "Lab W"). The laboratory was named after the village of Wennebostel in the municipality of Wedemark
to where it had been moved due to the war. Its first product was a voltmeter.[1] Lab W began building microphones in 1946 with the DM1, and began developing them in 1947 with the DM2. By 1955, the
company had 250 employees, and had begun production of many products including but not limited to: geophysical equipment, the Noise-Compensated microphone (DM4), microphone transformers, mixers, and
miniature magnetic headphones. Labor W was renamed 'Sennheiser electronic' in 1958.[citation needed] In 1968, Sennheiser released the world's first open headphones.[4] The introduction of open
headphones affected the headphone market as they were able to produce a more natural sound that many users preferred.[5] Sennheiser was transformed into a limited partnership (KG) in 1973. In 1980,
the company entered the aviation market, supplying Lufthansa with headsets.[6][7] The company began producing modern wireless microphones in 1982, the same year when founder Fritz Sennheiser handed
the management of the company over to his son, Jörg Sennheiser. In 1987, Sennheiser was awarded at the 59th Academy Awards for its MKH 816 shotgun microphone. Also in 1991, Georg Neumann GmbH,
Berlin, which builds studio microphones, became a part of Sennheiser.[8][9] In 1996, Sennheiser received an Emmy Award for its advancements in RF wireless technology.[10] Also in 1996, Sennheiser
became a private limited company (GmbH and Co. KG). Since then, Sennheiser has maintained its tradition of high quality audio technology, and still maintains those high standards today. Professor Dr.
Fritz Sennheiser died in 2010. On July 1, 2013, Daniel Sennheiser and Andreas Sennheiser were promoted to the position of CEO responsible for Sennheiser electronic GmbH & Co. KG.[11] In October
2013, Sennheiser received the prestigious Philo T. Farnsworth Award at the 65th Primetime Emmy®Engineering Awards in Hollywood.[12] In May 2014, Sennheiser founded a new competence center for
innovative streaming solutions, Sennheiser Streaming Technology GmbH (SST). Locations Sennheiser is headquartered in the municipality of Wedemark, Germany (near Hannover). Its United States
headquarters is located in Old Lyme, Connecticut. The company has factories in Wennebostel (Wedemark, near Hanover); Tullamore, Ireland (since 1990); and Albuquerque, New Mexico (since 2000).
Sennheiser's R&D facilities are located in Germany, Denmark, Switzerland, Singapore and San Francisco, California. Products This section needs additional citations for verification. Please help
improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2016) (Learn how and when to remove this template message) Sennheiser is
mainly known for its consumer headphones and professional microphones. The most famous microphones by Sennheiser are the MKH 416 short shotgun, which came to be the Hollywood standard shotgun
microphone, and the 816, similar in design with longer reach. Its also makes wireless microphones. Subsidiary products include aviation, multimedia and gaming headsets, micro-Hifi systems,
conferencing systems, speakers and amplifiers. Jon's archive https://archive.org/details/JoeBergerNammOralHistoryInterviewUneditedLongVersionOfficial55 Youtube
https://youtu.be/uFFMVHCkZ8w Joe Berger NAMM Oral History Interview Unedited Long Version Official 55 minutes 4 seconds by Jon Hammond Usage
Attribution-Noncommercial-No Derivative Works 3.0 Topics concert production, electric guitars, namm show, frankfurt musikmesse, joe berger, oral history, john entwistle, concert tours 
Joe Berger Interview Date: January 20, 2012 Job
Title: Musician, Product Endorser - short version here also http://www.namm.org/library/oral-history/joe-berger Joe Berger knows
sound! Joe has been mixing sound for over 30 years and he stopped counting at 35,000 bands! Also a virtuoso guitar player with his own definitive, unique playing style and "ear", Joe has jammed with
the likes of John Entwistle and Jack Bruce. He has also been a fixture at music trade shows for decades as a guitar demonstrator, having set a record for most hours played at a single trade show.
Tony Arambarri, Dan Del Fiorentino - NAMM Historians Categories: concert production electric guitars Guitars-Amps-Fretted Jon Hammond mixing consoles Musicians Musik Messe Frankfurt NAMM Show New
York City NY product endorsers Run time 55 minutes 4 seconds Audio/Visual sound 
Jon's archive https://archive.org/details/JonHammondsMusikmesseWarmUpPartyJazzkeller Alpha Jon Hammond - http://hammondcast.tumblr.com 
Headphone, Funk Jazz, Side Camera, Jon Hammond #Headphones #JazzFunk #HammondOrgan