Jon Hammond at the Organ and Microphone
#WATCHMOVIE HERE: Jon Hammond Funk Unit With Some Bad
Hombres Specials On The Band in Nashville Tennessee Nissan NAMM Stage! Jon's archive https://archive.org/details/2PMKickOffNissanStageSummerNAMMShow Some Serious Bad Hombres!: Roland Barber - trombone, trumpet, sea
shell Cord Martin - tenor saxophone Chuggy Carter - percussion Louis Flip Winfield - drums Lee Oskar - harmonica Joe Berger - guitar Jon Hammond - organ + bass 2PM EST Jon Hammond Funk Unit
kicking it off on the Nissan Stage at Summer NAMM Show Nashville Music City Center Facebook Video https://www.facebook.com/jonhammondband/videos/1330048600357267/ http://www.jonhammondband.com #NAMMShow #SummerNAMM #NissanStage #suchanastylady #badhombres #putinspuppet #yourethepuppet #NOYOURETHEPUPPET #cantwaitforSNL
#badhombre vs #badhombres #Unbeleivable Bad Hombre Joe Berger! 
*photo courtesy CNN 
Jon Hammond Funk Unit on Nissan Stage
Nashville Music City Center Summer NAMM Show showcase: 
H.264 download download 1 file MPEG4 download download 1 file OGG VIDEO download download 1 file TORRENT download download 23 Files download 5 Original Producer Jon Hammond
Language English WALL OF LESLIE SPEAKER SOUND 2215 HIGH POWER 3300 WOOD VERSION 3300w Keyboard Products Super Leslie Jon Hammond 3 x LS-2215 Leslie's with Hammond Sk1 Organ - Jon Hammond:
Leslie LS-2215 Info http://hammondorganco.com/products/leslie/ls2215/ 
Mono Solid State 200W RMS/300W Peak Preamp Stereo mini mixer Inputs 2x 1/4" TR keyboard inputs, auto sensing between passive/active 2x 1/4" TR instrument inputs, auto
sensing between passive/active 2x 1/4" TR auxiliary inputs 2x 1/4" TRS effects return inputs 1x 1/4" TRS effects return / power amp input 1x XLR mic input 1x 1/4" mono mic input Outputs 1x 1/4" TRS
stereo headphone output 2x 1/4" TR outputs 2x XLR outputs, each with ground 2x 1/4" TRS effect send outputs 1x 1/4" TRS effect send / slave amp output (send only provides right channel audio out to
slave amp for stereo) Channels and Controls Instrument: Low, mid, high, volume Keyboard: Low, mid, high, volume Microphone: Low, mid, high, volume Auxiliary: Volume Phones: Volume Master: Low, mid,
high, volume Tweeter 2x 4" mid to high frequency drivers Woofer 1x 15" low frequency driver 2x bass ports, front and rear My 1959 Hammond B3 organ with custom built Super Leslie Speaker by the late
great Bill Beer of Keyboard Products - just to the right of the Leslie box & flight case is my well-traveled original Hammond XB-2 in the 'weekend warrior case', it was not lightweight and not
designed for heavy travel - but with the help of lots of gaffer tape and stickers I went around the world with that organ numerous times - can't beat the mighty B3, but it won't fit in a taxi cab
don't ya' know! - Jon Hammond *Note: It was a LONG weekend for the Weekend Warrior Case folks!: 
Very Special Concert in Suzuki Hall, First Time Koei Tanaka Harmonica In Duo with Jon Hammond B3mk2 Organ and High Power Leslie model 3300W and W stands for Wood! - Jon Hammond 
Jon Hammond at the Hammond Organ with Manji Suzuki President Founder of Suzuki Musical Instruments Corp. LTD in Hamamatsu Japan Jon's archive https://archive.org/details/JonHammondSuzukiWorldHeadquartersInHouseConcertJonHammondPt3of3 
Suzuki Headquarters and factory concert special for President Founder Manji Suzuki with introduction by Waichiro 'Tachi' Tachikawa, Jon Hammond at the new B3mk2 organ with Koei Tanaka chromatic
harmonica Views 1,345 #1345 Special Thanks Mr. H. Ono, Mr. M. Terada, Mr. S. Ohtaka, Mr. Y. Beniya, Tachi Tachikawa, President M. Suzuki and entire Suzuki Musical Instruments Team Suzuki Musical
Instruments, B3mk2 Organ, Tachi Tachikawa, Hamamatsu, Headquarters, Jon Hammond, Local 802 Musicians Union Jon Hammond at the Hammond Organ - WALL OF LESLIE POWER and Stacked 122's with B3 Organ
Wall of Sound, Leslie 2215, #LeslieSpeaker #HighPower #Hamamatsu #Suzuki #HammondOrgan #Musikmesse #NAMMShow Jon's archive https://archive.org/details/JonHammondTAKAonHammondCastNarita 
Usage
Attribution-NonCommercial-NoDerivs Topics TAKA, Takamitsu Yashiro, Blue Groove Sessions, Harley Davidson, Fender Telecaster, Jon Hammond, HammondCast, Kamakura, Japan TAKA Blue Groove Sessions on
HammondCast KYOU Radio interview with Jon Hammond in Narita Japan. Guitarist producer and Harley Daivdson chopper from Kamakura Views 82 #82 Youtube https://youtu.be/mzlEIFvJPV4 168 views #168 Interviews Sennheiser Jon Hammond Headphones Microphones Organ Accordion Music Archive NAMM Musikmesse http://jonhammondband.com/blog.html/interviews_sennheiser_jon_hammond_headphones_microphones_organ_accordion_music_archive_namm_musikmesse/
- Jon Hammond L to R Dr. Andreas Sennheiser, Jon Hammond, Daniel Sennheiser 
Parking lot
of Sennheiser Headquarters in Wedemark Germany, Knut Benzner of NDR with 421 mic and Norbert Hilbich long-time Sennheiser man! 
Jon Hammond using Sennheiser e855 evolution microphone on interview with Tommy Denander and Mathias Melo in Hollywood 
Nashville Tennessee -- Jon Hammond interviewing legendary Roy Clark with Sennheiser evolution e855 microphone 
Jon's archive https://archive.org/details/RoyClarkTelevisionInterviewWithJonHammond Roy Clark Television Interview
with Jon Hammond just before Roy appeared on the American Eagle Awards in Nashville Tennessee during Summer NAMM Show - Roy Clark an American Living Legend and long-time member of The Grand Ole Opry
and The Country Music Hall of Fame - Roy's wiki https://en.wikipedia.org/wiki/Roy_Clark Roy Linwood Clark (born April 15, 1933) is an American
country music musician and performer. He is best known for hosting Hee Haw, a nationally televised country variety show, from 1969 to 1992. Roy Clark has been an important and influential figure in
country music, both as a performer and helping to popularize the genre. Jon's archive https://archive.org/details/TrainSongMusikmesseWarmUpParty Views 269 #269 Youtube https://youtu.be/ibPxc0shd8Y 104 views #104 Jon Hammond original composition "Train Song" performed at Jon's annual musikmesse Warm Up Party in the world
famousJazzkeller Frankfurt 
- Jon Hammond Band: Giovanni Totò Gulino drums, Peter Klohmann tenor saxophone, Joe Berger guitar, Jon Hammond Sk1 Hammond organ - special thanks to Frank Poehl for operating the
camera - http://www.HammondCast.com/ ©JH INTL ASCAP Publishing JON HAMMOND International Producer Jon Hammond Language English Usage
Attribution-Noncommercial-No Derivative Works 3.0 Topics Train, Song, Hammond organ, Warm Up Party, Jon Hammond, jazzkeller, Frankfurt, Jazz, musikmesse, Peter Klohmann, Giovanni Totò Gulino, Joe
Berger, ASCAP Composer H.264 download download 1 file MPEG4 download download 1 file OGG VIDEO download download 1 file TORRENT Jon's archive https://archive.org/details/JonHammond_TributetoVictimsof9_11_JONHAMMONDBand Views 560 #560 Youtube https://youtu.be/OzRVyWFhkek 2,955 views #2955 TONY LAKATOS-tenor sax HEINZ LICHIUS-drums JOE BERGER-guitar JON HAMMOND-XB-2 Organ/Bass *at JAZZKELLER Frankfurt
Special Thanks Eugen Hahn jazzkeller 
Get Back in The Groove composed by Jon Hammond ©JH INTL Jon Hammond International ASCAP Jon's archive https://archive.org/details/JonHammondJazzKneipeFrankfurtJonHammondBandFunkyHeadPhone Views 643 #643
Youtube https://youtu.be/uwm1evylatI 3,226 views #3226 Rare Footage from inside Jazz Kneipe Frankfurt! 
I
played 207 gigs in the famous JAZZ KNEIPE Frankfurt at Berlinerstr. 70 until Regina the boss finally closed the doors and moved to Spain a few years ago, usually in Duo, sometimes as Trio but more
often than not as Solo. This was a special occasion because my bandmates from California came over so I had them on the gig with addition of Sgt. Al Wittig of U.S. Air Force on tenor, James Preston
of Sons of Champlin band drums, Barry Finnerty gtr., myself Jon Hammond at XB-2 Hammond organ. This was a very special place frequented by all the musicians after there gigs. A 5 hour gig until wee
hours of the morning, Live Music 7 days a week in rotation with musicians like Piano George, Izio Gross, Wilson de Oliveira and members of HR Bigband. Regina introduced me to Tony Lakatos the
Hungarian tenor saxophonist who I play with still today. The club was not large but it had a great atmosphere and was always a safe place to hang out until as late as 5AM. Sadly the Jazz Kneipe is
still shuttered there on Berlinerstr. directly behind the Frankfurter Hof Hotel. All musicians tip their hat when they pass by. There's a lot of music in those walls! 
Jon Hammond Band original composition "Head Phone" with Atilla Zoller (RIP) in the house that night. ©)JHIntl. Jon Hammond International http://www.HammondCast.com Facebook video https://www.facebook.com/hammondcast/videos/10150741062342102/ Jon Hammond's Sennheiser evolution microphone Monophonic Recorder
combo Headphone HD 25-1 Classic and Song 
Jon Hammond: Back to Mono with Sennheiser combo TASCAM product DR-10X Plug-on Micro Linear PCM Recorder for XLR Connection (flipped over): Monophonic High fidelity Folks! True Hi-fi 
Jon Hammond playing his 1968 Gibson Byrdland - owned since 18 years old 
Front and Back Jon Hammond's 1968 Gibson Byrdland 
Jon Hammond interviewing the great Roy Clark with Sennheiser evolution e855 microphone - Roy is a long-time Gibson Byrdland virtuoso! 
Jon Hammond 1965 Fender Bandmaster Blackface on the bench 
Jon's Bandmaster Fender Head paired with Bag End 15" coaxial speaker bottom 
Jon Hammond flanked by Sennheiser co-CEO's Dr. Andreas Sennheiser and Daniel Sennheiser 
foto by Christian Burkert: 
Sennheiser to open Soundscape Showroom in the Westfield World Trade Center http://www.nydailynews.com/new-york/manhattan/daniel-sennheiser-open-soundscape-showroom-nyc-article-1.2815943
- Jon Hammond "Daniel and Andreas Sennheiser who run the blossoming Sennheiser company, an audio business based in Germany. (CHRISTIAN BURKERT)" BY EBENEZER SAMUEL NEW YORK DAILY NEWS Monday, October
3, 2016, 2:47 PM "Daniel Sennheiser knows exactly what he's up against. Along with his brother Andreas, Daniel Sennheiser runs the blossoming Sennheiser company, a blossoming audio business based in
Germany. But he's watched and admired New York City for a long time, come to appreciate the business challenges of the Big Apple. And along the way, Sennheiser says, he's come to view New York City
as a pivotal battleground for any business ready to go global. "New York has been the beginning of a lot of things," Sennheiser says. "This is a melting pot, that has brought up so many things,
brought up Broadway. New York is very fast-living. And that's positive in a sense that they're quick to pick up new trends and things. "But that also means you need to make a certain amount of
noise." And now, it's time for Sennheiser to make some noise. In late October, the company will take up residence in the Big Apple, opening the Sennheiser Soundscape Showroom in the Westfield World
Trade Center. It's a venue that will be filled with Sennheiser's unique products, but the focus isn't on selling. Instead, Sennheiser is focused on introducing New Yorkers to its distinctive audio,
part of a first step in establishing the company as a sound powerhouse in a nation that's spent the last few years in the midst of a great headphone awakening. "We believe it's the right time for us
to make a big splash to share our version of the future of audio with New York," says Andreas. It's an intriguing vision from a company that's long delivered high-quality sound but has consistently
lacked the profile of the bigger names in the industry. Beats by Dre and Bose own the majority of U.S. mindshare, and both companies are highly visible, utilized by both celebrities and major sports
franchises. Sennheiser has never had such presence, and that's mostly by choice. Look closely during your next NBA on TNT broadcast, and you may notice Sennheiser headsets on the play-by-play guys.
But the company has historically done little marketing, preferring to let its devices shine on their own merits. The Soundscape Showroom isn't the start of some massive ad campaign, either. But it is
part of a company-wide initiative to be more visible in the United States, to draw more notice to an underrated line of products. Just a few years ago, the company set up a small pop-up store on the
East Side. With the Soundscape Showroom, it's going bigger, aiming to be a national presence. "It's to raise a little awareness. We're just not present enough," Daniel says, before talking proudly of
Sennheiser's lore. "Sennheiser is the inventor of the hi-fi headphone. Not a lot of people know that." Indeed, few realize just how potent Sennheiser products truly are. It was Sennheiser that
released the first pair of open headphones way back in 1968, and it's Sennheiser that's continued to chase perfect, pure sound throughout the last few decades. And it's Sennheiser that last year
debuted the HE1 Orpheus, a handcrafted set of headphones powered by a massive amplifier built from marble and driven by gold-vaporized electrodes and platinum vaporized-diaphragms. It's a device that
costs tens of thousands of dollars and is hardly for use with your iPad on the train - but it's a device that showcases Sennheiser's pursuit of high-level sound. "Sennheiser has been on the forefront
of audio strategy for years," says Daniel. "We just added the sexy aesthetics after we did the sound." Sound remains the company's top priority, but in recent years, it's been pushing to match the
more attractive headphones delivered by the likes of Beats and Bose. There's the Momentum line of headphones, a sharp-looking line of headphones with rugged leather bands that seem tailor made for
the stylish Manhattanite. And just this summer, Sennheiser released the PXC 550, a noise-canceling Bluetooth pair of cans designed to go head-to-head with Bose's QuietComfort line, but with touch
controls built onto the earcups. These products, says Daniel Sennheiser, are examples of Sennheiser's ability to adapt to culture, proof that the company's products truly can fit the New Yorker. The
Sennheiser aesthetic is unique, and the Momentums are especially eye-catching units, as fashion-conscious as they come. The hope is that consumers enter the Soundscape Showroom and see these
products, falling in love with a new brand of headphone. "The qualities (of Sennheiser headphones) are great — the material, the leather, the steal," Daniel says. "But you also have to have the
opportunity to touch it. In our experience, audio is something you can't describe. You have to put it on your head. "Sennheiser is not a brand for everyone. I think we're a brand for people who are
in the know, who are creative, who really look for special things. That's why I think a place like New York is the place to be." And that's precisely why Sennheiser is finally here, with the
Soundscape Showroom as its first truly potent portal in the United States. The goal is to build from here, Andreas says, to finally aggressively cultivate the Sennheiser brand in the U.S. It won't be
easy, not with Beats and Bose dominant. But Sennheiser arrives prepared. "We have a serious plan, but we're also nimble enough to adjust," says Daniel. "As Frank Sinatra said, 'If you can make it
here, you can make it everywhere.'" Interviews Sennheiser Jon Hammond Headphones Microphones Organ Accordion Music Archive NAMM Musikmesse Facebook Video: https://www.facebook.com/jonhammondband/videos/1330048600357267/ 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). Jon's archive https://archive.org/details/Hammondcast202TheJonHammondShowAudioFromJonsRadioShow Views 493 #493 Youtube
https://youtu.be/aJzR5uizk6Y 122 views #122 HammondCast 202 The Jon Hammond Show audio from Jon Hammond's radio program special retrospective with audio
from a recording he made while on the house band led by Lou Colombo at The Wychmere Harbor Club in Harwich Port Cape Cod MA in 1978. Jon made the recording with his Nakamichi 550 tape deck, it is a
remarkable recording of the Lou Colombo Band which played nightly for luminaries such as Speaker of The House Tip O'Neill for all his private parties and the Kennedy Clan. 
Visuals from Jon Hammond Show long-running cable access TV program in New York City personally shot by Mr. Hammond with Video by LORI special graphics and FX. Kick back and enjoy! http://www.HammondCast.com For full audio of HammondCast 202: AUDIO: http://www.archive.org/details/JonHammondHammondCast202KYOURadio HammondCast 202 KYOU Radio special edition with part 2 of
recording from Wychmere Harbor Club when Jon played B3 organ on the Lou Colombo Band, the house band at Wychmere Harbor Club in Harwich Port Cape Cod MA. First backing up a feature dance duo with cha
cha and then Emily waltz, Saturday Night Fever followed by the chaser 'California Here I Come', then Summertime, Hello Dolly medley, Bossa nova medley Watch What Happens in to Wave and then a cooking
"In The Mood" taking it home with Jon's "Lydia's Tune" and some of Sidewinder - ©JH INTL Music Tags: Jon Hammond Show, Lou Colombo, Wychmere Harbor Club, B3 organ, Tip O'neill, Kennedy clan, cape
cod, private club Run time 14 minutes 58 seconds Producer Jon Hammond Audio/Visual sound H.264 download download 1 file MPEG4 download download 1 file OGG VIDEO download download 1 file TORRENT
download download 38 Files download 4 Original by Jon Hammond Usage Attribution-Noncommercial-No Derivative Works 3.0 Topics Jon Hammond Show, Lou Colombo, Wychmere Harbor Club, B3 organ, Tip
O'neill, Kennedy clan, cape cod, private club Folks, something told me I had better get on down to see my main man Lou Colombo last week in Fort Myers FL, I played on Lou's band for 2.5 years in Cape
Cod at the Wychmere Harbor Club and Thompson's Clam Bar in Harwich Port MA. It was an important time of my life and career and he was always very generous to me, kept me on my toes throwing tunes at
me in all keys the music never stopped once we hit. I just saw Lou a few days ago in Fort Myers FL at the gig he was playing at his Daughter Sherri's restaurant and hub Marc Neeley - Roadhouse Cafe,
he was at the top of his game, playing great as ever and looking like a million dollars. I am deeply saddened to receive terrible tragic news this morning from Lou's fine trombonist Nelson E. Foucht
that Lou was tragically killed last night just 4 blocks from Roadhouse Cafe coming home from the gig. My deepest condolences to the Colombo Family, Lou's Wife Noel, daughters Lori, Sherri, David all
his 6 kids, extended Family of friends and musicians. I am totally blown away, thankful that I had the opportunity to know him and play with him nightly back in the 70's and then to see and hear him
again at the end of his life, thanks Lou! Here are some photos from just a few days taken by my long-time great girlfriend Jennifer and myself at his gig, R.I.P. Big Lou - Louis Colombo the greatest
trumpet player bandleader baseball slugger and golfer ever! I used to go with Lou to the golf course where he had the snack concession in Yarmouth just to watch him drive balls in to outer space. I
couldn't believe how far and hard he could hit the ball. Lou would put on black executioner gloves and hit the ball and it would disappear, just keep on sailing in to the sky like Lou's spirit must
be now. His music and great memories will live on forever. Sincerely, Jon Hammond - Member AFM Local 802 and Local 6 Musicians Union *Note: Lou's band the other night at Roadhouse Cafe were so great,
I'm so sorry cats: Nelson Foucht on trombone, F.L. "Woody" Brubaker piano and keyboard bass, Richard Iannuzzi drums and Gil DiBenedetto tenor saxophone and clarinet. Jon Hammond and Lou Colombo
**Note: Lou Colombo and my neighbor Leo Ball (R.I.P.) also a fine trumpet player member of Local 802 were born on the same day in Brockton MA
*Note: Lou called me on my cell phone when I was at the airport just about to fly out of Tampa TPA Airport, he told me he really dug my album that I had given him "NDR SESSIONS Projekt" my first
record of mostly standards, it was inspired much by him actually. Lou was talking about the horn players on it, Lutz Buechner and Joe "Jo" Gallardo, he really dug them and he told me we were going to
do something back up in the Cape for sure. I was very touched by his call and he had called me on my previous birthday last year, I got all choked up when he told me that. Thanks a million Lou! Jon
Hammond http://www.archive.org/details/JonHammondLouColomboMoviebyJonHammond Lou Colombo and Jon Hammond -
02/23/2012
1978 Photo of Lou Colombo Band with Jon Hammond on B3 organ House Band at private club Wychmere Harbor Club in Harwich Port Cape Cod MA L to R: Frank Shea drums, Lou Colombo trumpet, Jack Pena
guitar, Jon Hammond B3 organ
http://www.youtube.com/watch?v=JkqBaFIAXn4 Jon Hammond Funk Unit - some Bad Hombres folks! 
Bad Hombres, Jon Hammond, Funk Unit, #FunkyJazz #cantwaitforSNL #HammondOrgan #NAMMShow #Musikmesse
*photo courtesy CNN 
Jon Hammond Funk Unit on Nissan Stage
Nashville Music City Center Summer NAMM Show showcase: 
H.264 download download 1 file MPEG4 download download 1 file OGG VIDEO download download 1 file TORRENT download download 23 Files download 5 Original Producer Jon Hammond
Language English WALL OF LESLIE SPEAKER SOUND 2215 HIGH POWER 3300 WOOD VERSION 3300w Keyboard Products Super Leslie Jon Hammond 3 x LS-2215 Leslie's with Hammond Sk1 Organ - Jon Hammond:
Leslie LS-2215 Info http://hammondorganco.com/products/leslie/ls2215/ 
Mono Solid State 200W RMS/300W Peak Preamp Stereo mini mixer Inputs 2x 1/4" TR keyboard inputs, auto sensing between passive/active 2x 1/4" TR instrument inputs, auto
sensing between passive/active 2x 1/4" TR auxiliary inputs 2x 1/4" TRS effects return inputs 1x 1/4" TRS effects return / power amp input 1x XLR mic input 1x 1/4" mono mic input Outputs 1x 1/4" TRS
stereo headphone output 2x 1/4" TR outputs 2x XLR outputs, each with ground 2x 1/4" TRS effect send outputs 1x 1/4" TRS effect send / slave amp output (send only provides right channel audio out to
slave amp for stereo) Channels and Controls Instrument: Low, mid, high, volume Keyboard: Low, mid, high, volume Microphone: Low, mid, high, volume Auxiliary: Volume Phones: Volume Master: Low, mid,
high, volume Tweeter 2x 4" mid to high frequency drivers Woofer 1x 15" low frequency driver 2x bass ports, front and rear My 1959 Hammond B3 organ with custom built Super Leslie Speaker by the late
great Bill Beer of Keyboard Products - just to the right of the Leslie box & flight case is my well-traveled original Hammond XB-2 in the 'weekend warrior case', it was not lightweight and not
designed for heavy travel - but with the help of lots of gaffer tape and stickers I went around the world with that organ numerous times - can't beat the mighty B3, but it won't fit in a taxi cab
don't ya' know! - Jon Hammond *Note: It was a LONG weekend for the Weekend Warrior Case folks!: 
Very Special Concert in Suzuki Hall, First Time Koei Tanaka Harmonica In Duo with Jon Hammond B3mk2 Organ and High Power Leslie model 3300W and W stands for Wood! - Jon Hammond 
Jon Hammond at the Hammond Organ with Manji Suzuki President Founder of Suzuki Musical Instruments Corp. LTD in Hamamatsu Japan Jon's archive https://archive.org/details/JonHammondSuzukiWorldHeadquartersInHouseConcertJonHammondPt3of3 
Suzuki Headquarters and factory concert special for President Founder Manji Suzuki with introduction by Waichiro 'Tachi' Tachikawa, Jon Hammond at the new B3mk2 organ with Koei Tanaka chromatic
harmonica Views 1,345 #1345 Special Thanks Mr. H. Ono, Mr. M. Terada, Mr. S. Ohtaka, Mr. Y. Beniya, Tachi Tachikawa, President M. Suzuki and entire Suzuki Musical Instruments Team Suzuki Musical
Instruments, B3mk2 Organ, Tachi Tachikawa, Hamamatsu, Headquarters, Jon Hammond, Local 802 Musicians Union Jon Hammond at the Hammond Organ - WALL OF LESLIE POWER and Stacked 122's with B3 Organ
Wall of Sound, Leslie 2215, #LeslieSpeaker #HighPower #Hamamatsu #Suzuki #HammondOrgan #Musikmesse #NAMMShow Jon's archive https://archive.org/details/JonHammondTAKAonHammondCastNarita 
Usage
Attribution-NonCommercial-NoDerivs Topics TAKA, Takamitsu Yashiro, Blue Groove Sessions, Harley Davidson, Fender Telecaster, Jon Hammond, HammondCast, Kamakura, Japan TAKA Blue Groove Sessions on
HammondCast KYOU Radio interview with Jon Hammond in Narita Japan. Guitarist producer and Harley Daivdson chopper from Kamakura Views 82 #82 Youtube https://youtu.be/mzlEIFvJPV4 168 views #168 Interviews Sennheiser Jon Hammond Headphones Microphones Organ Accordion Music Archive NAMM Musikmesse http://jonhammondband.com/blog.html/interviews_sennheiser_jon_hammond_headphones_microphones_organ_accordion_music_archive_namm_musikmesse/
- Jon Hammond L to R Dr. Andreas Sennheiser, Jon Hammond, Daniel Sennheiser 
Parking lot
of Sennheiser Headquarters in Wedemark Germany, Knut Benzner of NDR with 421 mic and Norbert Hilbich long-time Sennheiser man! 
Jon Hammond using Sennheiser e855 evolution microphone on interview with Tommy Denander and Mathias Melo in Hollywood 
Nashville Tennessee -- Jon Hammond interviewing legendary Roy Clark with Sennheiser evolution e855 microphone 
Jon's archive https://archive.org/details/RoyClarkTelevisionInterviewWithJonHammond Roy Clark Television Interview
with Jon Hammond just before Roy appeared on the American Eagle Awards in Nashville Tennessee during Summer NAMM Show - Roy Clark an American Living Legend and long-time member of The Grand Ole Opry
and The Country Music Hall of Fame - Roy's wiki https://en.wikipedia.org/wiki/Roy_Clark Roy Linwood Clark (born April 15, 1933) is an American
country music musician and performer. He is best known for hosting Hee Haw, a nationally televised country variety show, from 1969 to 1992. Roy Clark has been an important and influential figure in
country music, both as a performer and helping to popularize the genre. Jon's archive https://archive.org/details/TrainSongMusikmesseWarmUpParty Views 269 #269 Youtube https://youtu.be/ibPxc0shd8Y 104 views #104 Jon Hammond original composition "Train Song" performed at Jon's annual musikmesse Warm Up Party in the world
famousJazzkeller Frankfurt 
- Jon Hammond Band: Giovanni Totò Gulino drums, Peter Klohmann tenor saxophone, Joe Berger guitar, Jon Hammond Sk1 Hammond organ - special thanks to Frank Poehl for operating the
camera - http://www.HammondCast.com/ ©JH INTL ASCAP Publishing JON HAMMOND International Producer Jon Hammond Language English Usage
Attribution-Noncommercial-No Derivative Works 3.0 Topics Train, Song, Hammond organ, Warm Up Party, Jon Hammond, jazzkeller, Frankfurt, Jazz, musikmesse, Peter Klohmann, Giovanni Totò Gulino, Joe
Berger, ASCAP Composer H.264 download download 1 file MPEG4 download download 1 file OGG VIDEO download download 1 file TORRENT Jon's archive https://archive.org/details/JonHammond_TributetoVictimsof9_11_JONHAMMONDBand Views 560 #560 Youtube https://youtu.be/OzRVyWFhkek 2,955 views #2955 TONY LAKATOS-tenor sax HEINZ LICHIUS-drums JOE BERGER-guitar JON HAMMOND-XB-2 Organ/Bass *at JAZZKELLER Frankfurt
Special Thanks Eugen Hahn jazzkeller 
Get Back in The Groove composed by Jon Hammond ©JH INTL Jon Hammond International ASCAP Jon's archive https://archive.org/details/JonHammondJazzKneipeFrankfurtJonHammondBandFunkyHeadPhone Views 643 #643
Youtube https://youtu.be/uwm1evylatI 3,226 views #3226 Rare Footage from inside Jazz Kneipe Frankfurt! 
I
played 207 gigs in the famous JAZZ KNEIPE Frankfurt at Berlinerstr. 70 until Regina the boss finally closed the doors and moved to Spain a few years ago, usually in Duo, sometimes as Trio but more
often than not as Solo. This was a special occasion because my bandmates from California came over so I had them on the gig with addition of Sgt. Al Wittig of U.S. Air Force on tenor, James Preston
of Sons of Champlin band drums, Barry Finnerty gtr., myself Jon Hammond at XB-2 Hammond organ. This was a very special place frequented by all the musicians after there gigs. A 5 hour gig until wee
hours of the morning, Live Music 7 days a week in rotation with musicians like Piano George, Izio Gross, Wilson de Oliveira and members of HR Bigband. Regina introduced me to Tony Lakatos the
Hungarian tenor saxophonist who I play with still today. The club was not large but it had a great atmosphere and was always a safe place to hang out until as late as 5AM. Sadly the Jazz Kneipe is
still shuttered there on Berlinerstr. directly behind the Frankfurter Hof Hotel. All musicians tip their hat when they pass by. There's a lot of music in those walls! 
Jon Hammond Band original composition "Head Phone" with Atilla Zoller (RIP) in the house that night. ©)JHIntl. Jon Hammond International http://www.HammondCast.com Facebook video https://www.facebook.com/hammondcast/videos/10150741062342102/ Jon Hammond's Sennheiser evolution microphone Monophonic Recorder
combo Headphone HD 25-1 Classic and Song 
Jon Hammond: Back to Mono with Sennheiser combo TASCAM product DR-10X Plug-on Micro Linear PCM Recorder for XLR Connection (flipped over): Monophonic High fidelity Folks! True Hi-fi 
Jon Hammond playing his 1968 Gibson Byrdland - owned since 18 years old 
Front and Back Jon Hammond's 1968 Gibson Byrdland 
Jon Hammond interviewing the great Roy Clark with Sennheiser evolution e855 microphone - Roy is a long-time Gibson Byrdland virtuoso! 
Jon Hammond 1965 Fender Bandmaster Blackface on the bench 
Jon's Bandmaster Fender Head paired with Bag End 15" coaxial speaker bottom 
Jon Hammond flanked by Sennheiser co-CEO's Dr. Andreas Sennheiser and Daniel Sennheiser 
foto by Christian Burkert: 
Sennheiser to open Soundscape Showroom in the Westfield World Trade Center http://www.nydailynews.com/new-york/manhattan/daniel-sennheiser-open-soundscape-showroom-nyc-article-1.2815943
- Jon Hammond "Daniel and Andreas Sennheiser who run the blossoming Sennheiser company, an audio business based in Germany. (CHRISTIAN BURKERT)" BY EBENEZER SAMUEL NEW YORK DAILY NEWS Monday, October
3, 2016, 2:47 PM "Daniel Sennheiser knows exactly what he's up against. Along with his brother Andreas, Daniel Sennheiser runs the blossoming Sennheiser company, a blossoming audio business based in
Germany. But he's watched and admired New York City for a long time, come to appreciate the business challenges of the Big Apple. And along the way, Sennheiser says, he's come to view New York City
as a pivotal battleground for any business ready to go global. "New York has been the beginning of a lot of things," Sennheiser says. "This is a melting pot, that has brought up so many things,
brought up Broadway. New York is very fast-living. And that's positive in a sense that they're quick to pick up new trends and things. "But that also means you need to make a certain amount of
noise." And now, it's time for Sennheiser to make some noise. In late October, the company will take up residence in the Big Apple, opening the Sennheiser Soundscape Showroom in the Westfield World
Trade Center. It's a venue that will be filled with Sennheiser's unique products, but the focus isn't on selling. Instead, Sennheiser is focused on introducing New Yorkers to its distinctive audio,
part of a first step in establishing the company as a sound powerhouse in a nation that's spent the last few years in the midst of a great headphone awakening. "We believe it's the right time for us
to make a big splash to share our version of the future of audio with New York," says Andreas. It's an intriguing vision from a company that's long delivered high-quality sound but has consistently
lacked the profile of the bigger names in the industry. Beats by Dre and Bose own the majority of U.S. mindshare, and both companies are highly visible, utilized by both celebrities and major sports
franchises. Sennheiser has never had such presence, and that's mostly by choice. Look closely during your next NBA on TNT broadcast, and you may notice Sennheiser headsets on the play-by-play guys.
But the company has historically done little marketing, preferring to let its devices shine on their own merits. The Soundscape Showroom isn't the start of some massive ad campaign, either. But it is
part of a company-wide initiative to be more visible in the United States, to draw more notice to an underrated line of products. Just a few years ago, the company set up a small pop-up store on the
East Side. With the Soundscape Showroom, it's going bigger, aiming to be a national presence. "It's to raise a little awareness. We're just not present enough," Daniel says, before talking proudly of
Sennheiser's lore. "Sennheiser is the inventor of the hi-fi headphone. Not a lot of people know that." Indeed, few realize just how potent Sennheiser products truly are. It was Sennheiser that
released the first pair of open headphones way back in 1968, and it's Sennheiser that's continued to chase perfect, pure sound throughout the last few decades. And it's Sennheiser that last year
debuted the HE1 Orpheus, a handcrafted set of headphones powered by a massive amplifier built from marble and driven by gold-vaporized electrodes and platinum vaporized-diaphragms. It's a device that
costs tens of thousands of dollars and is hardly for use with your iPad on the train - but it's a device that showcases Sennheiser's pursuit of high-level sound. "Sennheiser has been on the forefront
of audio strategy for years," says Daniel. "We just added the sexy aesthetics after we did the sound." Sound remains the company's top priority, but in recent years, it's been pushing to match the
more attractive headphones delivered by the likes of Beats and Bose. There's the Momentum line of headphones, a sharp-looking line of headphones with rugged leather bands that seem tailor made for
the stylish Manhattanite. And just this summer, Sennheiser released the PXC 550, a noise-canceling Bluetooth pair of cans designed to go head-to-head with Bose's QuietComfort line, but with touch
controls built onto the earcups. These products, says Daniel Sennheiser, are examples of Sennheiser's ability to adapt to culture, proof that the company's products truly can fit the New Yorker. The
Sennheiser aesthetic is unique, and the Momentums are especially eye-catching units, as fashion-conscious as they come. The hope is that consumers enter the Soundscape Showroom and see these
products, falling in love with a new brand of headphone. "The qualities (of Sennheiser headphones) are great — the material, the leather, the steal," Daniel says. "But you also have to have the
opportunity to touch it. In our experience, audio is something you can't describe. You have to put it on your head. "Sennheiser is not a brand for everyone. I think we're a brand for people who are
in the know, who are creative, who really look for special things. That's why I think a place like New York is the place to be." And that's precisely why Sennheiser is finally here, with the
Soundscape Showroom as its first truly potent portal in the United States. The goal is to build from here, Andreas says, to finally aggressively cultivate the Sennheiser brand in the U.S. It won't be
easy, not with Beats and Bose dominant. But Sennheiser arrives prepared. "We have a serious plan, but we're also nimble enough to adjust," says Daniel. "As Frank Sinatra said, 'If you can make it
here, you can make it everywhere.'" Interviews Sennheiser Jon Hammond Headphones Microphones Organ Accordion Music Archive NAMM Musikmesse Facebook Video: https://www.facebook.com/jonhammondband/videos/1330048600357267/ 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). Jon's archive https://archive.org/details/Hammondcast202TheJonHammondShowAudioFromJonsRadioShow Views 493 #493 Youtube
https://youtu.be/aJzR5uizk6Y 122 views #122 HammondCast 202 The Jon Hammond Show audio from Jon Hammond's radio program special retrospective with audio
from a recording he made while on the house band led by Lou Colombo at The Wychmere Harbor Club in Harwich Port Cape Cod MA in 1978. Jon made the recording with his Nakamichi 550 tape deck, it is a
remarkable recording of the Lou Colombo Band which played nightly for luminaries such as Speaker of The House Tip O'Neill for all his private parties and the Kennedy Clan. 
Visuals from Jon Hammond Show long-running cable access TV program in New York City personally shot by Mr. Hammond with Video by LORI special graphics and FX. Kick back and enjoy! http://www.HammondCast.com For full audio of HammondCast 202: AUDIO: http://www.archive.org/details/JonHammondHammondCast202KYOURadio HammondCast 202 KYOU Radio special edition with part 2 of
recording from Wychmere Harbor Club when Jon played B3 organ on the Lou Colombo Band, the house band at Wychmere Harbor Club in Harwich Port Cape Cod MA. First backing up a feature dance duo with cha
cha and then Emily waltz, Saturday Night Fever followed by the chaser 'California Here I Come', then Summertime, Hello Dolly medley, Bossa nova medley Watch What Happens in to Wave and then a cooking
"In The Mood" taking it home with Jon's "Lydia's Tune" and some of Sidewinder - ©JH INTL Music Tags: Jon Hammond Show, Lou Colombo, Wychmere Harbor Club, B3 organ, Tip O'neill, Kennedy clan, cape
cod, private club Run time 14 minutes 58 seconds Producer Jon Hammond Audio/Visual sound H.264 download download 1 file MPEG4 download download 1 file OGG VIDEO download download 1 file TORRENT
download download 38 Files download 4 Original by Jon Hammond Usage Attribution-Noncommercial-No Derivative Works 3.0 Topics Jon Hammond Show, Lou Colombo, Wychmere Harbor Club, B3 organ, Tip
O'neill, Kennedy clan, cape cod, private club Folks, something told me I had better get on down to see my main man Lou Colombo last week in Fort Myers FL, I played on Lou's band for 2.5 years in Cape
Cod at the Wychmere Harbor Club and Thompson's Clam Bar in Harwich Port MA. It was an important time of my life and career and he was always very generous to me, kept me on my toes throwing tunes at
me in all keys the music never stopped once we hit. I just saw Lou a few days ago in Fort Myers FL at the gig he was playing at his Daughter Sherri's restaurant and hub Marc Neeley - Roadhouse Cafe,
he was at the top of his game, playing great as ever and looking like a million dollars. I am deeply saddened to receive terrible tragic news this morning from Lou's fine trombonist Nelson E. Foucht
that Lou was tragically killed last night just 4 blocks from Roadhouse Cafe coming home from the gig. My deepest condolences to the Colombo Family, Lou's Wife Noel, daughters Lori, Sherri, David all
his 6 kids, extended Family of friends and musicians. I am totally blown away, thankful that I had the opportunity to know him and play with him nightly back in the 70's and then to see and hear him
again at the end of his life, thanks Lou! Here are some photos from just a few days taken by my long-time great girlfriend Jennifer and myself at his gig, R.I.P. Big Lou - Louis Colombo the greatest
trumpet player bandleader baseball slugger and golfer ever! I used to go with Lou to the golf course where he had the snack concession in Yarmouth just to watch him drive balls in to outer space. I
couldn't believe how far and hard he could hit the ball. Lou would put on black executioner gloves and hit the ball and it would disappear, just keep on sailing in to the sky like Lou's spirit must
be now. His music and great memories will live on forever. Sincerely, Jon Hammond - Member AFM Local 802 and Local 6 Musicians Union *Note: Lou's band the other night at Roadhouse Cafe were so great,
I'm so sorry cats: Nelson Foucht on trombone, F.L. "Woody" Brubaker piano and keyboard bass, Richard Iannuzzi drums and Gil DiBenedetto tenor saxophone and clarinet. Jon Hammond and Lou Colombo
Bad Hombres, Jon Hammond, Funk Unit, #FunkyJazz #cantwaitforSNL #HammondOrgan #NAMMShow #Musikmesse