Jon Hammond at the Organ and Microphone
#WATCHMOVIE HERE: LATE
RENT Theme Song In Famous Hammond Orgasm Rock Club Tokyo Japan Jon's archive https://archive.org/details/LATERENTThemeSongInFamousHammondOrgasmRockClubTokyoJapan Youtube https://youtu.be/J7nAQP5KpO4 Facebook video https://www.facebook.com/hammondcast/videos/10153878446947102/ Shinjuku-ku, Tokyo -- LATE RENT Theme Song in famous Hammond
orgasm #Hammondorgasm Rock Club Tokyo Japan - Hammond B3 organ lounge where the late great Keith Emerson used to hang out - MUSICIANS: KOEI TANAKA harmonica, - Koei Tanaka JOE BERGER guitar, - Joe
Berger KIMIAKI TOBE drums, - Kimiaki Tobe JON HAMMOND B3 organ - Jon Hammond 
Special thanks: George Massahillo Oya & Atsuko Oya - Hammond orgasm Team http://www.HammondCast.com - Shinjuku
Tokyo - "Shinjuku is a special ward in Tokyo, Japan. It is a major commercial and administrative centre, housing the busiest railway station in the world and the Tokyo Metropolitan Government
Building," Producer Jon Hammond Audio/Visual sound, color Language English Usage Attribution-Noncommercial-No Derivative Works 3.0 Topics Hammond orgasm, Shinjuku-ku, Tokyo, Organ Lounge, B3, Jon
Hammond, Keith Emerson, Late Rent, Theme Song, Rock Club, #HammondOrgan H.264 download download 1 file MPEG4 download download 1 file OGG VIDEO download download 1 file TORRENT download download 25
Files download 5 Original Jon's archive https://archive.org/details/MusicalInstrumentsFairJapanNOXCESSBAGGAGEBLUESInSuzukiMusicalInstrumentsStandXK5
Youtube https://youtu.be/F5Fq9rDCruk Vimeo https://vimeo.com/190629641 Facebook video https://www.facebook.com/hammondcast/videos/10153872242402102/ Musical Instruments Fair Japan NO X-CESS BAGGAGE BLUES in Suzuki
Musical Instruments Stand XK-5 - Musicians: Koei Tanaka chromatic harmonica, Joe Berger guitar, Takano Naoyuki tenor saxophone, Jon Hammond playing the new XK-5 Hammond Heritage Pro System organ XK5
Heritage Pro System • XK5, XLK5 lower manual, new Pro Bench (BK), new Pro Stand (BK) • XPK250BK Pedalboard “THE NEW ORIGINAL” - Tokyo Big Sight http://www.HammondCast.com/ — at Tokyo Big Sight. Musicians: Koei Tanaka chromatic harmonica, Joe Berger guitar, Takano Naoyuki tenor saxophone, Jon Hammond playing
the new XK-5 Hammond Heritage Pro System organ: 
Producer Jon Hammond Language English H.264 download download 1 file MPEG4 download download 1 file OGG VIDEO download download 1 file TORRENT download download 18 Files download 5 Original Tokyo Big
Sight, Musical Instruments Fair Japan, XK5 Pro System, XK-5 Hammond Organ, B3, XK5, Blues Band, Jazz Music, Tenor Saxophone, Joe Berger, Electric Guitar, Chromatic Harmonica Master, Koei Tanaka,
Suzuki Musical Instruments, The New Original Yeah man! Like President Obama says: "Fire it Up!" Tokyo Big Sight, I'm back in town and not messin' around - fired up after falling in line with my dear
serious music friends right here, L to R Koei Tanaka, Joe Berger, Jon Hammond, Waichiro Tachikawa 
rallying around the new XK-5 Organ at Musical Instruments Fair Japan - Fire it Up folks! The new standard, moving in to the future...hammer down on the XK5 Hammond organ Heritage Pro System, better
than a B3 and it won't break your back - welcome to the future! - Jon Hammond http://jonhammondband.com/blog.html/japan_music_fair_live_get_back_in_the_groove_xk5/ Big Thank You Yu
Beniya Suzuki Musical Instruments Team for this beautiful photo: On-Air with Stanley and Chris of Tokyo Guitar Show 
#TokyoGuitarShow - huge honor to go on-the-air there with Stanley and Chris at the 2016 Japan Musical Instruments Fair in Tokyo Big SIght! - Joe Berger Jon Hammond - http://www.tgs-radio.com , thanks Yu! - Tokyo Big Sight! My new youngest organ student on the new XK-5 Hammond organ, I showed him how to do 'The Claw' - sub-in
training! 
At Japan Music Fair, Tokyo Big Sight Japan - Jon Hammond - Suzuki Musical Instruments Jon Hammond & Manji Suzuki President Founder of Suzuki Musical Instruments
Tokyo Japan -- Meeting the Hammond XK-5 Heritage Pro System Organ rig for Japan Musical Instrument Fair in Suzuki Musical Instruments, better than an old B3 folks! Multi-contact keys and
all new powerful sound engine, pure classic Hammond organ sound moving in to the future! 
Jon Hammond & Joe Berger preparing for daily program with the great Chromatic Harmonica master Koei Tanaka! http://jonhammondband.com/blog.html/japan_music_fair_live_get_back_in_the_groove_xk5/ *Full High Definition
Movie: #WATCHMOVIE HERE: Japan Music Fair LIVE Get Back In The Groove XK5 Jon's archive https://archive.org/details/JapanMusicFairLIVEGetBackInTheGrooveXK5 Youtube https://youtu.be/1x3Xt4yLF8U 11月4、5、6日と続いた楽器フェア2016、スズキハーモニカのデモ演奏を連日行いましたが、無事に終了しました！演奏を聴いていただいたみなさま、ありがとうございました。ハモンドオルガンの名手 河合
代介さんとのデュオ(最終日最後のセットにはドラムの大槻カルタさんが乱入してくれて大盛り！)、そしてアメリカから急遽かけつけてくれたハモンドオルガンの Jon Hammondとギターの Joe Bergerのトリオ(スズキハーモニカ開発のIさんに飛び入りしてもらいました！)にて行いました。とても良い内容の3日間だったと思います。関係者のみなさまお疲れ様でした。 
河合代介さんとは今週金曜日11日に沼袋 オルガンジャズ倶楽部にてふたたびデュオでライブしますので、そちらも是非よろしくお願いします！ God bless...my friend Quincey Carr is in the Evening News tonight with Captain Sully Sullenberger and
Mayor Libby Schaaf...check it out! - Jon Hammond: Surprise scholarship aids Hayward pilot’s flight instruction dreams Photos by Jon Hammond - Quincey Carr and Steven Turner - Oakland CA 
http://www.eastbaytimes.com/2016/11/07/surprise-scholarship-aids-hayward-pilots-flight-instruction-dreams/
"Chesley “Sully” Sullenberger shakes hands with Quincey Carr after presenting him with a certificate with which he may complete his training to become a flight instructor in Oakland, Calif., on
Monday, Nov. 7, 2016. Carr, who was shot and paralyzed years ago, told his story to Oakland police Sgt. Clay Burch (standing behind Sullenberger) who arranged for the Oakland Firefighters Random Acts
charity to fund Carr’s flight education. (Kristopher Skinner/Bay Area News Group) " By George Kelly | gkelly@bayareanewsgroup.com PUBLISHED: November 7, 2016 at 5:13 pm "OAKLAND — “Whoa, whoa, oh my
God!” Quincey Carr cried out as he wheeled around full circle in his wheelchair as media and well-wishers quickly surrounded him at the corner of Hegenberger Road and Edgewater Drive near his job.
Only minutes before, an Oakland fire engine had pulled up to treat Carr in an attempt to distract him. “They surprised me, they had the fire truck show up here and test my pulse and said ‘Are you
OK?'” he said. “Then people just started swarming in, and I was like, ‘What is happening?'” Carr, 32, of Hayward, was immediately surrounded by cameras and city leaders, including Mayor Libby Schaaf,
and Capt. Chesley “Sully” Sullenberger, who presented him with a $10,000 scholarship check on behalf of Oakland Firefighters Random Acts to cover the cost of flight instruction classes. “I’m just so
happy that I can really devote all of the time in doing what I really want to do,” said Carr, who wields a bullhorn and signs six days a week to promote Ramos Furniture, a family-owned and operated
chain of Northern California stores. He came by his love of flight early with visits to his parents’ jobs at the Alameda Naval Air Station leading to model-plane collections, flight lessons and his
own private pilot’s license at age 17 in 2002. But tragedy struck on Aug. 11, 2006, when Carr, who learned he had passed his written exam for a commercial license, went out with his girlfriend to
begin celebrations with a haircut at his regular barbershop on International Boulevard. When his girlfriend rebuffed a stranger’s flirting, the man left the shop but returned soon after with a gun
and shot Carr three times, then fired two more shots into him on the floor. Carr’s dreams were on hold. But he fought back through agonizing rehabilitation to teach ground instruction at a local
flight school, take friends on occasional plane rides and play a weekly piano gig at a Union City hotel to make ends meet. Oakland police Sgt. Clay Burch said he met Carr earlier this year while
visiting Ramos Furniture during a work break. It was after that chance meeting that Burch started thinking about how he could help Carr. “We’re here to hopefully start him on a path to change his
life. His dream has always been to be a flight instructor. Today, we’re here to help him realize his dream,” Burch said. Larry Hendricks, a retired 30-year Oakland firefighter, said the mayor’s
office contacted his nonprofit organization, Oakland Firefighters Random Acts, to help with Burch’s plan. “When we heard (Burch) had taken the time to get the backstory of a guy hundreds of people
had driven by in his wheelchair, it was a no-brainer for us,” Hendricks said. At fire station No. 27 on Pardee Road, officials started talking about a scholarship that would allow Carr to train at
Pacific States Aviation, a flight-based operator in Concord. “I’ve known Quincey for more than 15 years,” Rashid Yahya, Pacific States vice president and chief pilot, said. “He still flies out of our
academy using a special apparatus. I’m really glad we can help Quincey with his passion for flying and teaching. Once he gets his certificate, he can teach any student from private to commercial how
to fly.” Sullenberger praised Random Acts and all others who helped raise funds for Carr’s equipment and training. “When I became a flight instructor when I was 20 years old, I very quickly realized
it’s one thing to be able to accomplish something, to achieve a certain level of performance, but it’s quite another to, in very granular fashion, break that down into component parts and explain it
to someone so they can begin to do it,” said Sullenberger, who lavished praise on Carr’s determination and perseverance in pursuing his flight instruction dreams. “I’m going to tell him today that
forever after when I see a small plane overhead, I’m going to say ‘I wonder if that’s Quincey?'” Staff writer Angela Hill contributed to this report. Contact George Kelly George Kelly George Kelly is
a breaking news reporter for the Bay Area News Group. He has worked as an online coordinator and, before that, a copy editor and page designer for Bay Area-based newspapers and magazines. Off work,
he enjoys playing in bands, busking and karaoke. His first newspaper job was as a Washington Post paperboy. Follow George Kelly @allaboutgeorge Jon Hammond Thumbs Up to the amazing Ramos Furniture
Store Promo Duo Quincey Carr and Steven Turner on tenor on corner of Edgewater and Hegenberger! - Check 'em out if you are driving by folks - FREE HDTV with a qualifying purchase while supplies last!
Up to a 51 inch HDTV FREE! — with Quincey Carr, Steven Turner and Ramos Furniture at Ramos Furniture - Oakland CA Jon's archive https://archive.org/details/JapanMusicFairLIVEGetBackInTheGrooveXK5 Youtube https://youtu.be/1x3Xt4yLF8U Vimeo https://vimeo.com/190419463 Facebook video https://www.facebook.com/jonhammondband/videos/1455167981178661/ Japan Music Fair LIVE Get Back in The Groove XK5 featuring Koei
Tanaka and Joe Berger plus special guest Tokuichi Inoue chromatic Harmonica Masters from Suzuki Musical Instruments - Jon Hammond is playing the new XK-5 Hammond organ and high power Leslie Speaker,
the new standard in Hammond B3 digital organ, best modern Hammond organ in history, enjoy! Jon Hammond photo Steve aka Shunichi Horiuchi! http://www.HammondCast.com Tokyo Japan -- thanks for photo Steve aka Shunichi Horiuchi! - Tokyo Japan -- I love playing this organ XK-5 aka XK5 Hammond, come join us
for Day 2 Japan Musical Instruments Fair in Suzuki Musical Instruments stand folks! - Jon Hammond 
H.264 download download 1 file MPEG4 download download 1 file OGG VIDEO download download 1 file TORRENT download download 31 Files Producer Jon Hammond Language English Allowed on Timeline Jon
Hammond drawing crowds at Suzuki Musical Instruments! — with Jon Hammond - photo credit: Joe Berger 
With Takano Naoyuki and Jon Hammond - Photo credit Lars Heuseler 
Tokyo Japan -- I love playing this organ XK-5 aka XK5 Hammond, come join us for Day 2 Japan Musical Instruments Fair in Suzuki stand folks! - Jon Hammond 
Jon Hammond with Kaori Tai - one of
Koei Tanaka's top harmonica students and excellent photographer! 
Photo credit Kaori Tai 
http://musicfair.jp/2016/ あ～～、写真多すぎてＵＰするので手一杯。 カメラのスペックが低い割りに良い写真が撮れたのでは？とは思うが、やっぱりカメラのスペックは上げたいのが本音。 
Tokyo Japan -- Wow it was a great day to see my dear friends again from Suzuki Musical Instruments, reunion at Japan Music Fair 2016! Jon Hammond Photo Credit,
Yu Beniya! with Waichiro Tachikawa aka Tachi and Take 
Photo Credit Yu
Beniya 
Daisuke Kawai XK-5 Organ and Koei
Tanaka looking and sounding beautiful beautiful beautiful cats! Music for the people at Japan Music Fair Tokyo Big Sight Suzuki Musical Instruments stage - photo: Jon Hammond 
Tokyo Japan -- Music Power Shot! L to R
Koei Tanaka, Daisuke Kawai, Jon Hammond - playing in Suzuki Musical Instruments stage for the public and trade on the new Hammond XK-5 and the special Suzuki Harmonica chromatic master Koei! 
Tokyo Japan -- Joe Lamond President CEO
of NAMM in the house at Japan Musical Instruments Fair! Just in from Shanghai Music China - Joe Berger was at Music China also - NAMM International Team takin' care o' business folks! - Jon Hammond
Japan Music Fair Photos in Suzuki
Hammond from Steve aka Shunichi Horiuchi! - Jon Hammond 
Jon's archive https://archive.org/details/HammondPartyNightPocketFunkShakingOutTheNewXK5OrganInNashville Vimeo
https://vimeo.com/hammondcast 
Jon Hammond Band at the Hammond Party for the new XK-5 Hammond organ, playing Jon's tune Pocket Funk in Full HighDef on the new prototype organ with Kayleigh Moyer on the Sleishman Drum Co Mothertone
drums, Chuggy Carter congas GON BOPS, Joe Berger guitar, Jon Hammond at the XK5 (plays just like a B3 with Multi Contact keys!) 
first night of Summer NAMM Show Nashville, Tennessee 
at the famous studios of SoundCheck Nashville- Pocket Funk as seen on Jon's TV show Jon Hammond Show 34 years on Manhattan Neighborhood Network channel 1 - special thanks to Hammond Organ USA Gregory
Gronowski & Scott May, Ray Gerlich long-time Hammond Technical Supervisor since 1976! also Mark Prentice M.D. for the evening, known as "Sound Soul Summit V" fine players all night long on the
new org - Thanks to my friend Chuck Rainey the great studio bassist for coming and hanging with us all night long! And the Suzuki Musical Instruments Team makers of Hammond Organs and Leslie Speakers
*from Hamamatsu-shi, Shizuoka, Japan http://www.HammondCast.com #XK5 #NAMMShow #Nashville #SummerNAMM #HammondOrgan 
Producer Jon Hammond Language English Youtube https://youtu.be/Ng5WijIR7h8 Jon's archive https://archive.org/details/MusicalInstrumentsFairJapanSecondDaySuzukiHammondMercyDedicatedToTachi
Youtube https://youtu.be/MnC-at_BHcc Vimeo https://vimeo.com/190865885 Facebook video https://www.facebook.com/hammondcast/videos/10153875987502102/ Tokyo Big Sight Japan -- Very special dedication at Musical
Instruments Fair Japan Second Day to my good friend Waichiro Tachikawa aka Tachi - reprising 10 years later Mercy Mercy with the great Suzuki Chromatic harmonica masters Koei Tanaka and Tokuichi
Inoue (Stevie Wonder's friends and harmonica makers!), Joe Berger playing custom guitar built by Tor Arne Engdal and Jon Hammond at the exciting new Hammond organ product, the XK-5 aka XK5 presented
in the full blown version Heritage Pro System with high power model 3300 Leslie Speaker daily onstage in the Suzuki Musical Instruments stand - enjoy this Full High Definition Film that will bring
you right there to the bi-annual fair in the Big Sight convention and exhibition center in Tokyo, Japan - the largest one in the country! See you again in 2018 folks! These instruments are available
now from your local Hammond Suzuki representitives - Jon Hammond http://www.HammondCast.com Koei Tanaka and Jon Hammond - Suzuki Musical Instruments Hamamatsu
Suzuki Musical Instruments Hamamatsu 
President Manji Suzuki and Jon Hammond seated at the New B3 B3mk2 organ 
Suzuki Chromatic harmonica masters Koei Tanaka and Tokuichi Inoue (Stevie Wonder's friends and harmonica makers!), Joe Berger playing custom guitar built by Tor Arne Engdal and Jon Hammond at the
exciting new Hammond organ product, the XK-5 
*Note: We will also be appearing at Winter NAMM Show, Frankfurt musikmesse Prolight + Sound and Summer NAMM Show 31st year - this is the New B3 of the Future, now! “The New Original” - JH
XK5 Heritage Series Model Options: XK5 Heritage Pro System MoK5 Heritage Pro System Special Thanks Shigeyuki Ohtaka, Yu Beniya, Masato Tomie and Suzuki Engineering Team - President Manji Suzuki &
Suzuki Team - a pleasure to play the Hybrid Multiple Key Contact System and the All-New Sound Engine totally rocks! Producer Jon Hammond Audio/Visual sound, color Language English Musical Instruments
Fair Japan, Tokyo Big Sight, XK5, XK-5 Organ, Suzuki Musical Instruments, Mercy, Jon Hammond, Chromatic Harmonica, Koei Tanaka, Electric guitar, Joe Berger, Blues Band, NAMM, musikmesse,
#HammondOrgan H.264 download download 1 file MPEG4 download download 1 file OGG VIDEO download download 1 file TORRENT download download 24 Files download 5 Original The Hammond XK-5 http://hammondorganco.com/wp-content/uploads/2016/06/XK5-main-product.pdf "XK5 Single Manual XK5 Heritage Pro System •
XK5, XLK5 lower manual, new Pro Bench (BK), new Pro Stand (BK) • XPK250BK Pedalboard (option, not shown) Model A3 Heritage System • XK5, A3 lower manual (RW), new A3 Bench (RW), new A3 Stand (RW) •
XPK250W Pedalboard (option) 1|Page HAMMOND® XK-5 “THE NEW ORIGINAL” The HAMMOND B-3TM organ and its siblings such as the C-3TM and A-100TM have been the single most influential keyboard instruments
in musical history, perhaps apart from the acoustic piano. When paired with the spinning Leslie® speaker, the HAMMOND’s sonic versatility defined the electrified keyboard sound of genres from rock to
soul to Gospel to jazz. This sound is as sought after today as ever. With the XK-5 and Heritage Series, HAMMOND is proud to announce that we’ve closed the final millimeters of the realism gap—in
terms of both sound and feel—in a form factor that’s far more portable and affordable than a vintage Hammond organ. We are very proud of this instrument for providing an absolutely authentic playing
experience that will meet the demands of even the most seasoned B-3 purist. Frankly, we feel it has no peer among today’s keyboard offerings. “It’s very important to feel comfortable sitting at the
organ. Sometimes I play an organ and it doesn’t feel like what I’m used to. First of all, [The XK-5] feels like a B-3, just sitting at it.” – Dr. Lonnie Smith, legendary jazz organist “It’s a Hammond
B3! That’s what most of us want in essence. But to be able to go beyond that and have all these incredible adjustments ... I’m in love!” – Chuck Leavell (The Rolling Stones) Let’s face it: Moving and
maintaining an antique Hammond will only become more difficult as time passes. Of course we have tons of respect for anyone who does, but to get all of the sound with none of the hassle, let’s learn
why the XK-5 is destined to become The New OriginalTM . NEW PATENT-PENDING TECHNOLOGIES The engineering team we’ve dedicated to the Hammond sound for over 30 years went back to the drawing board for
nearly everything about the new XK-5, analyzing many classic organs and poring over original diagrams and blueprints that only we possess. Here are some of the biggest new ideas in the new Hammond
XK-5. 2|Page Hybrid Multiple Key Contact System: On classic Hammonds (and in our current, full-sized New B-3 Mk. II family), pressing a key closes nine mechanical contacts: one for each drawbar. Your
ears usually hear the multiple harmonics as one note. Depress a key slowly, however, and you can hear the harmonics come in at slightly different times. Normal playing created a subtle “slop” between
otherwise crisp attacks, and the more drawbars you pull out, the more of an almost subliminal but chewy and soulful character it impacts to the sound. One perhaps feels this more than hears it, but
seasoned players certainly notice its absence. You can’t accomplish this with a single MIDI note-on, which is what most of today’s organ and synth key actions use. In the XK-5, we use three
mechanical contacts at different points in the keys’ travel. Each of these in turn triggers three virtual contacts, giving you separate “note on” connections for every drawbar frequency in the same
manner as the original nine-contact electro-mechanical Hammond® organs. The result is a fingers-to-music connection that perfectly duplicates sitting at a vintage B while saving on weight and cost.
Plus, the time-spread between these “note ons” is programmable, as is the order in which you hear the harmonics speak. And since the contacts all receive and transmit MIDI note data, you can capture
every harmonic nuance of your performance in your DAW program of choice—to which you can directly connect the XK-5 via USB. “The first thing that struck me was the action. I played a big Larry Young
chord, and stretching and hitting that top note, it didn’t quite trigger all the way until I really pressed on it. That’s exactly what a B-3 does and what I expect as a B-3 player.” – Jim Alfredson
(Organissimo, Janiva Magness) (Jim – jamming on the XK5 – ModelA3) Completely Redesigned Key-bed: The XK-5’s keyboard action is built in-house, not sourced from a third-party manufacturer. We
designed it to duplicate the heft, bounce, and key dip of a “new old stock” and well-maintained B-3TM: No springy synth keys allowed! Master Hammond players who tested early prototypes confirmed that
nothing comes closer to the feel and response they expect. Of course it has the “waterfall” key fronts critical to Hammond playing techniques such as palm slides. Play the XK-5 alongside any other
modern organ and we’re convinced you’ll find the difference stunning. “The feel of the keyboard, it kicks back at you. It’s not dead, and it feels good. See, that’s what we’re looking for!”- Dr.
Lonnie Smith “It’s like the feel of what I imagine it must have been like in 1968 when you put your hands on a brand new one. It feels great.”- Chuck Leavell 3|Page All-New Sound Engine: The XK-5
employs new proprietary technology to recreate Hammond’s storied tone wheel generator with unprecedented accuracy and flexibility. Tone wheels were spinning discs on shafts, each with its own pickup
pointing at the edge. The pattern of “teeth” cut into the edge of the wheel and its rotational speed determined the pitch. Modeling and sampling are combined in an exclusive process to capture the
frequencies of all 91 tone wheels found in the original organs, not to mention other important sonic details such as key click, harmonic percussion, vibrato-chorus, and more. Tone wheel generators
have become like rare violins or classic cars: Even though Hammond originally calibrated all instruments that left the factory to sound identical, no two are exactly alike after decades of use. So
we’ve extended the programmability of both the overall generator characteristics (such as leakage and cross-talk between pickups) and individual tone wheel behavior (such as the purity of the sine
wave) to almost ludicrous depths. In addition to letting you perfectly duplicate different conditions of Hammonds—from showroom-new to road-abused if that’s what you’re going for—there’s the ability
to recreate individual organs right down to the model, year, and serial number! Presets will capture the exact tonal qualities of famous artists’ instruments, from jazz great Dr. Lonnie Smith to
Chuck Leavell (The Rolling Stones) to Gregg Rolie (Santana, Journey) and more. Virtual Matching Transformer: An often overlooked subtlety of the Hammond sound was that the tone wheels generated tiny
voltages that needed to be stepped up, and you could be “drawing on” some of the same wheels at the same time by playing similar notes with similar drawbar settings on both manuals. All signals from
the upper, lower, and pedal manuals passed through a matching transformer that was intended to even things out before the signal moved on to the preamp and vibrato-chorus scanner. The transformer—a
piece of iron with a coil wrapped around it—could “remember” some of its saturation based on how hard it had been working previously, thus affecting new notes played. Physicists call this hysteresis.
Musically speaking, it affects how much “volume robbing” you hear and adds to what Hammond aficionados think of as the “breathing” quality of the organ. (The phenomenon is similar to why some
recording engineers like transformer-equipped microphones and/or preamps for certain sounds.) In the XK-5, the matching transformer and its place in the signal chain is modeled precisely, and the
saturation and hysteresis amounts are adjustable from barely-there to over-the-top. Like we said, we’re closing the final few millimeters of the realism gap. MORE FEATURES We didn’t stop there. Just
a few of the XK-5’s more than 50 innovations and features include: • Four full sets of Harmonic Drawbars plus pedal drawbars, just like on original Hammond console organs including the B-3. • 12
additional virtual tone wheels are devoted to harmonically complex pedal tones (i.e. more than just 16' and 8' sine waves), as found on Hammonds beginning in 1945. • Custom tone wheel profiles
available via download. • Our best-ever Digital Leslie effect. Anything else is just a “rotary simulator.” • Continuously variable Digital Leslie speed if desired. 4|Page • Dedicated octave shift /
transpose buttons. • Improved DSP-based overdrive complemented by vacuum tube preamp. • Improved vibrato-chorus. • Dedicated on/off buttons and amount knobs for reverb, overdrive, and assignable
multi-FX. • Lower B drawbars can alternately control 9 MIDI CC messages for external gear. • Left and right 1⁄4'' outs can be used at the same time as Leslie output, for running the XK-5 through a
real Leslie in parallel to stationary speakers, a subwoofer, or house P.A. • More key-triggering modes for pedal-to-lower coupler (Manual Bass function). • Firmware updatable via USB flash drive or
directly from computer. • Crisp new OLED display is more readable under different lighting conditions. Of course we’ve retained the things that made working with the XK-3C and our compact SK-series
keyboards a joy. Hold any button and the first page of parameters most relevant to it comes up in the display—holding the Leslie speed button for Digital Leslie settings, for example. This saves you
a ton of menu-diving when customizing your sounds. New patch-naming and copying features also make your housekeeping even easier. HERITAGE SERIES OVERVIEW The single manual XK-5 forms the basis of
our new Heritage Series, letting you configure as large or as small a system as your gig requires. For adding flawless and inspiring Hammond organ sound to your existing multi-keyboard rig, simply
purchase the XK-5 single-manual unit. It contains all the tone-generating “brains” in case you want to expand later. From here, two systems offer a choice between contemporary or traditional looks
for players who require dual manuals and/or pedals. XK-5 Pro System This system is best for touring musicians who carry their own gear but require a full portable B-3. The new XLK-5 lower manual uses
the same key-bed and multi-contact system. It features the same high-quality cabinetry as the main unit, with vertically extended side panels designed to cradle your XK-5. Remove the existing side
panels from the main unit (a quick and simple operation), slide it into place, and you have an integrated dual-manual rig with a seamless appearance. Jazz players who kick bass can add the XPK-250
two-octave radiating pedalboard, which includes our new EXP-250 expression pedal. Though the XK-5 is compatible with previous XK-3 and XK-3C Pro System expansion products such as the XLK-3 lower
manual (though you’ll only get the multiple key contacts on the XK-5 itself), all the new components interconnect via H-BUS, our new connector that simplifies setup by carrying both data and power.
Rounding out the options are the open-footprint aluminum Pro stand, which folds for easy carry, and matching bench. 5|Page Model A-3TM So named because it looks very much like Laurens Hammond’s first
organ, the Model ATM he introduced in 1935, the Model A-3 is ideal for installation in a church or nightclub, or for any application where the appearance of a classic B-series Hammond is desired. It
begins with the XK5 and adds the A-3 lower manual, which functions exactly like the XLK-5 but has thicker side panels. The wooden “B-3 look” stand and bench match the cabinetry perfectly, as does the
XPK-250 pedalboard with expression pedal. HAMMOND will offer different bundles of these components through better retailers everywhere. If you demand no less than perfection from your tone-wheel
organ sound, a feel and responsiveness that will make you close your eyes and imagine you’re playing a vintage B-3, and programmability that will let you recreate any specific Hammond that may be in
your mind’s ear, don’t settle for a “clone.” Insist on The New Original ... the HAMMOND XK-5. “I’m so glad Hammond is carrying on the tradition, and making it even better than it was in the
beginning. Congratulations!” – Chuck Leavell SPECIFICATIONS: Hammond USA 743 Annoreno Drive Addison, IL 60101 www.hammondorganco.com 6|Page Manuals Upper and Lower 73 notes each (61 playing keys plus
12 Preset Keys) Square-front (“waterfall”-style) New mechanical key-bed design Pedal (optional) 13, 20-note spinet-style 25-note radiating Adjustable Pedal Sustain Pedal to Lower coupler Custom Pedal
Registrations (3 Factory, 3 User) Split SPLIT panel control Assignable split point Tone Generator MTWTM (Modeled Tone Wheels) 61-note polyphony for Manuals 5-note polyphony for Pedals Virtual
Multi-ContactsTM Custom Contacts (3 Factory, 3 User) 3 Physical Contacts, 9 Assignable Virtual Contacts Adjustable Attack, Release, Decay Harmonic Drawbars® 5 sets (4 Manuals, 1 Pedal) Upper 2 X 9
pitches Lower 2 X 9 pitches Pedal 2 pitches Drawbar Voicing 4 choices for Manuals (A-100, B-3, C-3, Mellow) 4 choices for Pedals (Normal, Muted, Synth 1 & 2) Custom Tone Wheel (CTWTM) 3 Factory,
3 User for A-100, B-3, C- 3 & Mellow Drawbar Voicings CTW’s identified by model and serial number Adjustable parameters for each tone wheel 12 complex tone wheels for bottom 12 pedal tones.
Touch-Response PercussionTM Percussion On, Normal/Soft Volume, Slow/Fast Decay, 2nd & 3rd Harmonic Adjustable Normal/Soft Volume settings, Slow/Fast Decay rates, Velocity, Key Tracking, 1’
Drawbar Cancel ON/OFF Vibrato & ChorusTM Virtual ScannerTM (3 settings) Adjustable rate, Vibrato/Chorus Mix Vibrato on Pedal ON/OFF Overdrive Tube/Solid State Adjustable drive level Preset Keys 9
Presets plus Cancel each Manual 2 Adjust Presets each Manual 9 programmable Preset Banks Patches 100 User, 100 Factory Patches Assignable to Preset Keys as Favorites Assignable Patch Load: Drawbar
registrations, Drawbar parameters, Internal & External Zones, Multi- Effects, Reverb. Tube Preamp 12AU7/12AX7 Tubes Adjustable Routing & Drive Level MTTM Matching Transformer Adjustable drive
level, Hysteresis, upper/lower/percussion levels Multi-Effects Tremolo, Auto Pan, Wah-Wah, Ring Modulator, Phaser, Flanger, Chorus, Delay. Adjustable parameters for each effect. Master Equalizer
Bass/Mid/Treble panel controls Adjustable gain & center frequency Programmable Equalizer Bass, Mid, Treble Adjustable center frequency Hammond Preamp Tone Control Leslie® STOP, FAST, BYPASS panel
controls. Custom Cabinets (8 Preset, 8 User) Adjustable Slow & Fast Speeds, Rise & Fall Times, Horn/Drum/Subwoofer Volume Balance, Microphone Settings. Reverb ON/OFF panel control 11 programs
Leslie On Reverb ON/OFF MIDI 5 MIDI Templates 3 Keyboard Channels (Upper, Lower, Pedals) 6 External Zones (3 Upper, 2 Lower, 1 Pedals) Assignable MIDI channels, key range, Program Change, Pan,
Velocity Curve, Min/Max Volume IN 1, IN 2, OUT Connections Display OLED, 20 character, 2 line 7 Control Buttons & VALUE Rotary Knob USB “A” port (“To USB Flash Drive”) “B” port (“To Host”)
Tune/Transpose Transpose +- 6 semitones Fine Tune +- 10 cents Octave Up/Down +- 2 octaves H-BUS® Connector To Pedals/Expression Pedal Audio Connections LINE OUT L/MONO / R Headphone Jack 11-pin
Leslie® Connector Other Connections CONTROL 1, CONTROL 2, 8-pin DIN (EXP-100F Expression Pedal) AC Input Dimensions 46.8” (W) 15.8” (D) 4.7” (H) Weight 34.6 lbs. " Jon's archive https://archive.org/details/MusicalInstrumentsFairJapanNOXCESSBAGGAGEBLUESInSuzukiMusicalInstrumentsStandXK5
Youtube https://youtu.be/F5Fq9rDCruk Vimeo https://vimeo.com/190629641 Sennheiser In The News led by system
designer Norbert Hilbich AMBEO 3D audio soundscapes guidePORT system wow! Jon Hammond Courtesy of Installation AV integration in a networked world LINK http://www.installation-international.com/sennheiser-to-provide-3d-music-for-va-revolution-exhibition/
Photo: Dave Robinson --Sennheiser audio solutions 
- Daniel
Sennheiser, CEO of Sennheiser – pictured (centre) holding a replica of a 1968 set of Sennheiser headphones - Installation AV Says: "Sennheiser has announced a new collaboration with the Victoria
and Albert Museum (V&A) in London for the forthcoming exhibition You Say You Want a Revolution? Records & Rebels 1966 – 1970. The exhibition will open to the public on 10 September 2016 and
run until 26 February 2017, following which it will tour internationally. Sennheiser will provide immersive sound utilising its AMBEO 3D audio technology delivered through a guidePORT audio guide
system. Curated by Geoffrey Marsh and Victoria Broackes, the curatorial team behind the V&A’s David Bowie is, the new exhibition is designed in six distinct sections. It will explore the late
1960s through hundreds of exhibits from the V&A’s extensive collections alongside a selection of loans that range from design, music, film, fashion and consumer products to photography, posters
and books. It is designed by Nissen Richards Studio, with video content designed by Fray studio, and sound design by Carolyn Downing. Music will play a key role in the exhibition, said Broakes: “The
music running through You Say You Want a Revolution will represent the backbone and heart of the exhibition; it will be an object in itself. Therefore, we are delighted to be working with Sennheiser
once again. Their expertise in 3D immersive audio will push the limits of the sound experience still further.” Working closely with the exhibition’s sound designer Carolyn Downing, the Sennheiser
team, led by system designer Norbert Hilbich (left of picture), will be setting up two AMBEO 3D audio soundscapes. One will place visitors in an immersive environment evoking the political issues and
fight against censorship and the establishment of the late 1960s while the other will recreate a live concert atmosphere with upmixed audio material from the period. Hilbich told Installation that
the new exhibition will contain a lot more music than David Bowie is. “We have quite a big bunch of songs that they think we should transfer to 3D audio, but the process is not finished. There are
plenty of ideas – we now have to [think about] how we put it into operation, what will it sound like, which part of the songs we should take and so on.” After being set up in the studio, Hilbich
added, the mix will be adjusted on site to suit the acoustics of the venue – as was also done with the Bowie exhibition. Visitors will be accompanied through the exhibition by a Sennheiser audio
guide system. The guidePORT system will deliver hundreds of personal, automatically triggered stereo feeds simultaneously. It will transmit real-time, lip-sync audio to fully immerse visitors in the
sights and sounds of the late 1960s. The system at the V&A will comprise 750 receiver units with high-quality headphones, along with several transmission and trigger units that will be hidden
from sight. Robert Genereux (right of picture), business director system design at Sennheiser, said: “The headphone part [using the guidePORT system] will be similar, but along the way they are going
to create ‘disturbances’ in the headphone experience in different sections. This will be a little bit of a difference [from] the guidePORT experience for Bowie, which is uniform all the way from the
beginning to the ‘show moment’.” Daniel Sennheiser, CEO of Sennheiser – pictured (centre) holding a replica of a 1968 set of Sennheiser headphones – commented: “We are absolutely thrilled to
cooperate with the Victoria and Albert Museum on yet another fantastic project. The V&A is uniquely positioned to curate an exhibition about this transformational time in our more recent history.
The artistic quality of the exhibition together with spectacular exhibits and an innovative state-of-the-art sound experience, featuring Sennheiser’s AMBEO 3D audio technology, will make this
exhibition a truly immersive experience.” Photo courtesy of PSN Europe: Dave Robinson "Bag O’Nails staircase pic: Sennheiser’s Robert Genereux (business director system design, strategic
collaborations); Daniel Sennheiser, holding the reproduction HD414s; Eric Clapton(!) c. 1968; Norbert Hilbich (Sennheiser director spectrum affairs & system design)" 
PSN Europe Says: "Sennheiser to play
major role at Sgt Pepper exhibition" LINK http://www.psneurope.com/sennheiser-to-play-major-role-at-sgt-pepper-exhibition/ "Shards from Jimi Hendrix’s and
Pete Townshend’s shattered guitars… The brown fringe jacket Roger Daltrey wore at Woodstock…. Handwritten lyrics for Lucy in the Sky with Diamonds by the Beatles… The suits worn by John Lennon and
George Harrison on the cover of Sgt. Pepper’s Lonely Hearts Club Band… All of these incredible artefacts are to be included in a major cultural retrospective to be held at the Victoria & Albert
(V&A) Museum in September 2016. Called You Say You Want a Revolution? Records and Rebels 1966–70, the exhibition will explore the era-defining significance and impact of the late 1960s upon life
today. It follows the success of 2013’s David Bowie Is – the most popular exhibition ever held at the V&A – and once again, Sennheiser technology, including the guidePORT system and the emerging
AMBEO 3D environment, will play a major part in the presentation and production of the show. You Say You Want a Revolution? Records and Rebels 1966–70 will “investigate the upheaval, the explosive
sense of freedom, and the legal changes that took place resulting in a fundamental shift in the mindset of the Western world”, say the curators, Victoria Broakes and Geoffrey Marsh. More than 350
objects from the period, encompassing photography, posters, literature, music, design, film, fashion, and performance, have been procured for the show: even a moon rock, and an Apple 1 computer (of
which there are only four working models in the world). Details of Record and Rebels 1966-70 – which will run from September 2016 to February 2017 – were revealed at former legendary ’60s bar (now a
private club) the Bag O’ Nails, just off London’s Carnaby Street, at the end of February. Martin Roth, director of the V&A, said it was one of the most important exhibitions the museum had
curated. Broakes and Marsh agreed that the Sgt Pepper suits were some of the most difficult objects to secure – but they were items considered essential to the show. Levi’s and Sennheiser are key
sponsors of the event, along with outfitter Fenwick and stylist Sassoon. “I knew some of the concept, but not all of it until today, so and I think it’s going to be a really, really exciting
exhibition!” Sennheiser co-CEO Daniel Sennheiser told PSNEurope at the launch. He noted that one of the show themes – how the 1960s have shaped how we think today – is very much in tune with his
company philosophy. In an introductory speech at the Bag O’Nails, Daniel spoke of how his grandfather’s business had mass-produced the HD414 headphones starting in 1968, and how it had gone on to be
the “most sold headphone in the world”. Later, while clutching a pair based on the original ’60s design, Daniel told PSNEurope that the phones were never planned as a product but came about when some
of the Sennheiser engineers were “playing around with microphone capsules” and noticed the transparency of the sound when they were placed close to the ear. “My grandfather [Fritz Sennheiser] said,
OK, let’s make a product out of it. He asked the distributor at the time how many they could sell. But no one could imagine having a hi-fi sound ‘in your head’. The distributor said, maybe 500
worldwide! But grandfather said, to make it work financially, I need to make 5,000. “So he made 5,000 – and it was sold out in three months. And today, more than 12m pieces have been produced. And we
can still sell you replacement earpads for a 1968 pair!” revealed Daniel. Working with the exhibition’s sound designer Carolyn Downing, the Sennheiser team (led by system designer Norbert Hilbich)
will be setting up two AMBEO 3D audio soundscapes at the museum. One will place visitors in an immersive environment evoking the political issues and fight against censorship and the establishment of
the late 1960s; the other will recreate a live concert atmosphere with upmixed audio material from the period. Of AMBEO 3D – demonstrated in London last year but launched official at CES earlier in
2016 – Daniel says: “The idea is to transport you into a different place. “We’re still learning how to use it and what we [can] do with it. It’s not just one technology, it’s about the capturing, the
mixing, the creation of the spacial audio, then the processing and the playback. [But] that’s where Sennheiser is uniquely positioned [at the V&A]: to provide the 3D audio and create an emotional
experience in an exhibition which is already emotive in its content, so it’s a really good case study and demonstration for us.” Visitors will be accompanied through the exhibition by Sennheiser’s
guidePORT system, as they were for David Bowie Is…. GuidePORT can deliver hundreds of personal, automatically triggered stereo feeds simultaneously, and will transmit real-time, lip-sync audio to
fully immerse visitors in the sights and sounds of the period. The V&A implementation will comprise 750 receiver units with premium headphones (though Daniel didn’t know which models at the
time), along with several transmission and trigger units, hidden from the public eye. David Bowie Is has been on tour ever since the March 2013 V&A launch: it’s visited Toronto, Sao Paolo,
Chicago, Melbourne, the Netherlands and is about to open in Tokyo. Daniel remarks, “If [Records and Rebels] is successful, I would love it to go on tour – but that is the V&A’s decision.” Is
Daniel a big fan of music from the era? “I would have loved to have been alive at that time. I’m a big fan of Zappa, Hendrix, Bob Dylan. I play guitar and piano – but I have more passion than
talent!” www.sennheiser.com http://www.vam.ac.uk/content/exhibitions/exhibition-you-say-you-want-a-revolution-records-and-rebels-1966-70/
" 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 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's archive https://archive.org/details/CableAccessTVPreview1015JonHammondShowMusicPictorialSpecialAroundTheWorldJazzBluesSoftNews
by Jon Hammond Cable Access TV Preview 1015 Jon Hammond Show Music Pictorial Special Around The World Jazz Blues Soft News #1015 Description JON HAMMOND Instruments: Organ, Accordion, Piano, Guitar
Attended: Berklee College of Music 1974, City College San Francisco Languages: English, German Musician: Jon Hammond is one of the premier B3 PLAYERS in the world. Jon has played professionally since
age 12. Beginning as a solo accordionist, he later played Hammond B3 organ in a number of important San Francisco bands. His all original group HADES opened shows for Tower of Power, Quicksilver
Messenger Service and Michael Bloomfield. Eddie Money and Barry Finnerty became musical associates. Moving East he attended Berklee College of Music and played venues as diverse as Boston's "Combat
Zone" in the striptease clubs during the '70's and the exclusive Wychmere Harbor Club in Cape Cod, where he was house organist and developed a lasting friendship with House Speaker Tip O'Neill. He
also toured the Northeast and Canada with the successful show revue "Easy Living", and continued his appearances at nightclubs in Boston and New York. Subsequently Hammond lived and traveled in
Europe, where he has an enthusiastic following. TV/Video Producer: In 1981 Jon formed BackBeat Productions. Assisted by Lori Friedman (Video by LORI), the innovative TV show "The Jon Hammond Show"
became a Manhattan Cable TV favorite. Jon's "Live on the street" video style included news events, as well as live music/video clips of Dizzy Gillespie, Paul Butterfield, Jaco Pastorius, John
Entwistle, Sammy Davis Jr., Percy Sledge and many others...#LISTEN AUDIOPHILE HERE: AUDIO Audiophile Quality Pro Tools Recordings from NDR Studio 1 on HammondCast 25 Radio Broadcast Jon's archive
https://archive.org/details/HammondCast_25 Views 3,740 #3740 HammondCast 25 from organist/accordionist Jon Hammond, broadcasting from San Francisco with Clifford Brown Jr. & Chris Cortez talking
about Jon's music and fresh new tracks from Jon's forthcoming record: "NDR SESSIONS Projekt" with saxophonist LUTZ BÜCHNER, trombonist JOE GALLARDO, drummer HEINZ LICHIUS and JON HAMMOND on the new
Hammond XK-3 organ/bass recorded in NDR Radio's Studo 1 with NDR Engineer RUDY GROSSER at the controls..Moving East he attended Berklee College of Music and played venues as diverse as Boston's
"Combat Zone" in the striptease clubs during the '70's and the exclusive Wychmere Harbor Club in Cape Cod, where he was house organist with Lou Colombo. Jon Hammond played Hammond organ on the Mike
Myers movie "The LOVE GURU" (unseen) Paramount Pictures backing up Telma Hopkins as "Lillian Roanoke" when she sings "Star Spangled Banner" at the Hockey game. Jon Hammond's Sennheiser evolution
microphone Monophonic Recorder combo Headphone HD 25-1 Classic and Songs http://www.HammondCast.com Photo: At Sennheiser Headquarters Wedemark Germany: L to R
Knut Benzner NDR Radio with his famous White MD 421 N Factory Restoration Perfect and Sennheiser's Norbert Hilbich - photo by Jon Hammond 
B3 organ, Hammond orgasm, Rock Club,
Tokyo Japan, Koei Tanaka, Chromatic Harmonica, Jon Hammond, #B3 #Hammondorgasm #FunkyJazz #HammondOrgan
Special thanks: George Massahillo Oya & Atsuko Oya - Hammond orgasm Team http://www.HammondCast.com - Shinjuku
Tokyo - "Shinjuku is a special ward in Tokyo, Japan. It is a major commercial and administrative centre, housing the busiest railway station in the world and the Tokyo Metropolitan Government
Building," Producer Jon Hammond Audio/Visual sound, color Language English Usage Attribution-Noncommercial-No Derivative Works 3.0 Topics Hammond orgasm, Shinjuku-ku, Tokyo, Organ Lounge, B3, Jon
Hammond, Keith Emerson, Late Rent, Theme Song, Rock Club, #HammondOrgan H.264 download download 1 file MPEG4 download download 1 file OGG VIDEO download download 1 file TORRENT download download 25
Files download 5 Original Jon's archive https://archive.org/details/MusicalInstrumentsFairJapanNOXCESSBAGGAGEBLUESInSuzukiMusicalInstrumentsStandXK5
Youtube https://youtu.be/F5Fq9rDCruk Vimeo https://vimeo.com/190629641 Facebook video https://www.facebook.com/hammondcast/videos/10153872242402102/ Musical Instruments Fair Japan NO X-CESS BAGGAGE BLUES in Suzuki
Musical Instruments Stand XK-5 - Musicians: Koei Tanaka chromatic harmonica, Joe Berger guitar, Takano Naoyuki tenor saxophone, Jon Hammond playing the new XK-5 Hammond Heritage Pro System organ XK5
Heritage Pro System • XK5, XLK5 lower manual, new Pro Bench (BK), new Pro Stand (BK) • XPK250BK Pedalboard “THE NEW ORIGINAL” - Tokyo Big Sight http://www.HammondCast.com/ — at Tokyo Big Sight. Musicians: Koei Tanaka chromatic harmonica, Joe Berger guitar, Takano Naoyuki tenor saxophone, Jon Hammond playing
the new XK-5 Hammond Heritage Pro System organ: 
Producer Jon Hammond Language English H.264 download download 1 file MPEG4 download download 1 file OGG VIDEO download download 1 file TORRENT download download 18 Files download 5 Original Tokyo Big
Sight, Musical Instruments Fair Japan, XK5 Pro System, XK-5 Hammond Organ, B3, XK5, Blues Band, Jazz Music, Tenor Saxophone, Joe Berger, Electric Guitar, Chromatic Harmonica Master, Koei Tanaka,
Suzuki Musical Instruments, The New Original Yeah man! Like President Obama says: "Fire it Up!" Tokyo Big Sight, I'm back in town and not messin' around - fired up after falling in line with my dear
serious music friends right here, L to R Koei Tanaka, Joe Berger, Jon Hammond, Waichiro Tachikawa 
rallying around the new XK-5 Organ at Musical Instruments Fair Japan - Fire it Up folks! The new standard, moving in to the future...hammer down on the XK5 Hammond organ Heritage Pro System, better
than a B3 and it won't break your back - welcome to the future! - Jon Hammond http://jonhammondband.com/blog.html/japan_music_fair_live_get_back_in_the_groove_xk5/ Big Thank You Yu
Beniya Suzuki Musical Instruments Team for this beautiful photo: On-Air with Stanley and Chris of Tokyo Guitar Show 
#TokyoGuitarShow - huge honor to go on-the-air there with Stanley and Chris at the 2016 Japan Musical Instruments Fair in Tokyo Big SIght! - Joe Berger Jon Hammond - http://www.tgs-radio.com , thanks Yu! - Tokyo Big Sight! My new youngest organ student on the new XK-5 Hammond organ, I showed him how to do 'The Claw' - sub-in
training! 
At Japan Music Fair, Tokyo Big Sight Japan - Jon Hammond - Suzuki Musical Instruments Jon Hammond & Manji Suzuki President Founder of Suzuki Musical Instruments
Tokyo Japan -- Meeting the Hammond XK-5 Heritage Pro System Organ rig for Japan Musical Instrument Fair in Suzuki Musical Instruments, better than an old B3 folks! Multi-contact keys and
all new powerful sound engine, pure classic Hammond organ sound moving in to the future! 
Jon Hammond & Joe Berger preparing for daily program with the great Chromatic Harmonica master Koei Tanaka! http://jonhammondband.com/blog.html/japan_music_fair_live_get_back_in_the_groove_xk5/ *Full High Definition
Movie: #WATCHMOVIE HERE: Japan Music Fair LIVE Get Back In The Groove XK5 Jon's archive https://archive.org/details/JapanMusicFairLIVEGetBackInTheGrooveXK5 Youtube https://youtu.be/1x3Xt4yLF8U 11月4、5、6日と続いた楽器フェア2016、スズキハーモニカのデモ演奏を連日行いましたが、無事に終了しました！演奏を聴いていただいたみなさま、ありがとうございました。ハモンドオルガンの名手 河合
代介さんとのデュオ(最終日最後のセットにはドラムの大槻カルタさんが乱入してくれて大盛り！)、そしてアメリカから急遽かけつけてくれたハモンドオルガンの Jon Hammondとギターの Joe Bergerのトリオ(スズキハーモニカ開発のIさんに飛び入りしてもらいました！)にて行いました。とても良い内容の3日間だったと思います。関係者のみなさまお疲れ様でした。 
河合代介さんとは今週金曜日11日に沼袋 オルガンジャズ倶楽部にてふたたびデュオでライブしますので、そちらも是非よろしくお願いします！ God bless...my friend Quincey Carr is in the Evening News tonight with Captain Sully Sullenberger and
Mayor Libby Schaaf...check it out! - Jon Hammond: Surprise scholarship aids Hayward pilot’s flight instruction dreams Photos by Jon Hammond - Quincey Carr and Steven Turner - Oakland CA 
http://www.eastbaytimes.com/2016/11/07/surprise-scholarship-aids-hayward-pilots-flight-instruction-dreams/
"Chesley “Sully” Sullenberger shakes hands with Quincey Carr after presenting him with a certificate with which he may complete his training to become a flight instructor in Oakland, Calif., on
Monday, Nov. 7, 2016. Carr, who was shot and paralyzed years ago, told his story to Oakland police Sgt. Clay Burch (standing behind Sullenberger) who arranged for the Oakland Firefighters Random Acts
charity to fund Carr’s flight education. (Kristopher Skinner/Bay Area News Group) " By George Kelly | gkelly@bayareanewsgroup.com PUBLISHED: November 7, 2016 at 5:13 pm "OAKLAND — “Whoa, whoa, oh my
God!” Quincey Carr cried out as he wheeled around full circle in his wheelchair as media and well-wishers quickly surrounded him at the corner of Hegenberger Road and Edgewater Drive near his job.
Only minutes before, an Oakland fire engine had pulled up to treat Carr in an attempt to distract him. “They surprised me, they had the fire truck show up here and test my pulse and said ‘Are you
OK?'” he said. “Then people just started swarming in, and I was like, ‘What is happening?'” Carr, 32, of Hayward, was immediately surrounded by cameras and city leaders, including Mayor Libby Schaaf,
and Capt. Chesley “Sully” Sullenberger, who presented him with a $10,000 scholarship check on behalf of Oakland Firefighters Random Acts to cover the cost of flight instruction classes. “I’m just so
happy that I can really devote all of the time in doing what I really want to do,” said Carr, who wields a bullhorn and signs six days a week to promote Ramos Furniture, a family-owned and operated
chain of Northern California stores. He came by his love of flight early with visits to his parents’ jobs at the Alameda Naval Air Station leading to model-plane collections, flight lessons and his
own private pilot’s license at age 17 in 2002. But tragedy struck on Aug. 11, 2006, when Carr, who learned he had passed his written exam for a commercial license, went out with his girlfriend to
begin celebrations with a haircut at his regular barbershop on International Boulevard. When his girlfriend rebuffed a stranger’s flirting, the man left the shop but returned soon after with a gun
and shot Carr three times, then fired two more shots into him on the floor. Carr’s dreams were on hold. But he fought back through agonizing rehabilitation to teach ground instruction at a local
flight school, take friends on occasional plane rides and play a weekly piano gig at a Union City hotel to make ends meet. Oakland police Sgt. Clay Burch said he met Carr earlier this year while
visiting Ramos Furniture during a work break. It was after that chance meeting that Burch started thinking about how he could help Carr. “We’re here to hopefully start him on a path to change his
life. His dream has always been to be a flight instructor. Today, we’re here to help him realize his dream,” Burch said. Larry Hendricks, a retired 30-year Oakland firefighter, said the mayor’s
office contacted his nonprofit organization, Oakland Firefighters Random Acts, to help with Burch’s plan. “When we heard (Burch) had taken the time to get the backstory of a guy hundreds of people
had driven by in his wheelchair, it was a no-brainer for us,” Hendricks said. At fire station No. 27 on Pardee Road, officials started talking about a scholarship that would allow Carr to train at
Pacific States Aviation, a flight-based operator in Concord. “I’ve known Quincey for more than 15 years,” Rashid Yahya, Pacific States vice president and chief pilot, said. “He still flies out of our
academy using a special apparatus. I’m really glad we can help Quincey with his passion for flying and teaching. Once he gets his certificate, he can teach any student from private to commercial how
to fly.” Sullenberger praised Random Acts and all others who helped raise funds for Carr’s equipment and training. “When I became a flight instructor when I was 20 years old, I very quickly realized
it’s one thing to be able to accomplish something, to achieve a certain level of performance, but it’s quite another to, in very granular fashion, break that down into component parts and explain it
to someone so they can begin to do it,” said Sullenberger, who lavished praise on Carr’s determination and perseverance in pursuing his flight instruction dreams. “I’m going to tell him today that
forever after when I see a small plane overhead, I’m going to say ‘I wonder if that’s Quincey?'” Staff writer Angela Hill contributed to this report. Contact George Kelly George Kelly George Kelly is
a breaking news reporter for the Bay Area News Group. He has worked as an online coordinator and, before that, a copy editor and page designer for Bay Area-based newspapers and magazines. Off work,
he enjoys playing in bands, busking and karaoke. His first newspaper job was as a Washington Post paperboy. Follow George Kelly @allaboutgeorge Jon Hammond Thumbs Up to the amazing Ramos Furniture
Store Promo Duo Quincey Carr and Steven Turner on tenor on corner of Edgewater and Hegenberger! - Check 'em out if you are driving by folks - FREE HDTV with a qualifying purchase while supplies last!
Up to a 51 inch HDTV FREE! — with Quincey Carr, Steven Turner and Ramos Furniture at Ramos Furniture - Oakland CA Jon's archive https://archive.org/details/JapanMusicFairLIVEGetBackInTheGrooveXK5 Youtube https://youtu.be/1x3Xt4yLF8U Vimeo https://vimeo.com/190419463 Facebook video https://www.facebook.com/jonhammondband/videos/1455167981178661/ Japan Music Fair LIVE Get Back in The Groove XK5 featuring Koei
Tanaka and Joe Berger plus special guest Tokuichi Inoue chromatic Harmonica Masters from Suzuki Musical Instruments - Jon Hammond is playing the new XK-5 Hammond organ and high power Leslie Speaker,
the new standard in Hammond B3 digital organ, best modern Hammond organ in history, enjoy! Jon Hammond photo Steve aka Shunichi Horiuchi! http://www.HammondCast.com Tokyo Japan -- thanks for photo Steve aka Shunichi Horiuchi! - Tokyo Japan -- I love playing this organ XK-5 aka XK5 Hammond, come join us
for Day 2 Japan Musical Instruments Fair in Suzuki Musical Instruments stand folks! - Jon Hammond 
H.264 download download 1 file MPEG4 download download 1 file OGG VIDEO download download 1 file TORRENT download download 31 Files Producer Jon Hammond Language English Allowed on Timeline Jon
Hammond drawing crowds at Suzuki Musical Instruments! — with Jon Hammond - photo credit: Joe Berger 
With Takano Naoyuki and Jon Hammond - Photo credit Lars Heuseler 
Tokyo Japan -- I love playing this organ XK-5 aka XK5 Hammond, come join us for Day 2 Japan Musical Instruments Fair in Suzuki stand folks! - Jon Hammond 
Jon Hammond with Kaori Tai - one of
Koei Tanaka's top harmonica students and excellent photographer! 
Photo credit Kaori Tai 
http://musicfair.jp/2016/ あ～～、写真多すぎてＵＰするので手一杯。 カメラのスペックが低い割りに良い写真が撮れたのでは？とは思うが、やっぱりカメラのスペックは上げたいのが本音。 
Tokyo Japan -- Wow it was a great day to see my dear friends again from Suzuki Musical Instruments, reunion at Japan Music Fair 2016! Jon Hammond Photo Credit,
Yu Beniya! with Waichiro Tachikawa aka Tachi and Take 
Photo Credit Yu
Beniya 
Daisuke Kawai XK-5 Organ and Koei
Tanaka looking and sounding beautiful beautiful beautiful cats! Music for the people at Japan Music Fair Tokyo Big Sight Suzuki Musical Instruments stage - photo: Jon Hammond 
Tokyo Japan -- Music Power Shot! L to R
Koei Tanaka, Daisuke Kawai, Jon Hammond - playing in Suzuki Musical Instruments stage for the public and trade on the new Hammond XK-5 and the special Suzuki Harmonica chromatic master Koei! 
Tokyo Japan -- Joe Lamond President CEO
of NAMM in the house at Japan Musical Instruments Fair! Just in from Shanghai Music China - Joe Berger was at Music China also - NAMM International Team takin' care o' business folks! - Jon Hammond
Japan Music Fair Photos in Suzuki
Hammond from Steve aka Shunichi Horiuchi! - Jon Hammond 
Jon's archive https://archive.org/details/HammondPartyNightPocketFunkShakingOutTheNewXK5OrganInNashville Vimeo
https://vimeo.com/hammondcast 
Jon Hammond Band at the Hammond Party for the new XK-5 Hammond organ, playing Jon's tune Pocket Funk in Full HighDef on the new prototype organ with Kayleigh Moyer on the Sleishman Drum Co Mothertone
drums, Chuggy Carter congas GON BOPS, Joe Berger guitar, Jon Hammond at the XK5 (plays just like a B3 with Multi Contact keys!) 
first night of Summer NAMM Show Nashville, Tennessee 
at the famous studios of SoundCheck Nashville- Pocket Funk as seen on Jon's TV show Jon Hammond Show 34 years on Manhattan Neighborhood Network channel 1 - special thanks to Hammond Organ USA Gregory
Gronowski & Scott May, Ray Gerlich long-time Hammond Technical Supervisor since 1976! also Mark Prentice M.D. for the evening, known as "Sound Soul Summit V" fine players all night long on the
new org - Thanks to my friend Chuck Rainey the great studio bassist for coming and hanging with us all night long! And the Suzuki Musical Instruments Team makers of Hammond Organs and Leslie Speakers
*from Hamamatsu-shi, Shizuoka, Japan http://www.HammondCast.com #XK5 #NAMMShow #Nashville #SummerNAMM #HammondOrgan 
Producer Jon Hammond Language English Youtube https://youtu.be/Ng5WijIR7h8 Jon's archive https://archive.org/details/MusicalInstrumentsFairJapanSecondDaySuzukiHammondMercyDedicatedToTachi
Youtube https://youtu.be/MnC-at_BHcc Vimeo https://vimeo.com/190865885 Facebook video https://www.facebook.com/hammondcast/videos/10153875987502102/ Tokyo Big Sight Japan -- Very special dedication at Musical
Instruments Fair Japan Second Day to my good friend Waichiro Tachikawa aka Tachi - reprising 10 years later Mercy Mercy with the great Suzuki Chromatic harmonica masters Koei Tanaka and Tokuichi
Inoue (Stevie Wonder's friends and harmonica makers!), Joe Berger playing custom guitar built by Tor Arne Engdal and Jon Hammond at the exciting new Hammond organ product, the XK-5 aka XK5 presented
in the full blown version Heritage Pro System with high power model 3300 Leslie Speaker daily onstage in the Suzuki Musical Instruments stand - enjoy this Full High Definition Film that will bring
you right there to the bi-annual fair in the Big Sight convention and exhibition center in Tokyo, Japan - the largest one in the country! See you again in 2018 folks! These instruments are available
now from your local Hammond Suzuki representitives - Jon Hammond http://www.HammondCast.com Koei Tanaka and Jon Hammond - Suzuki Musical Instruments Hamamatsu
Suzuki Musical Instruments Hamamatsu 
President Manji Suzuki and Jon Hammond seated at the New B3 B3mk2 organ 
Suzuki Chromatic harmonica masters Koei Tanaka and Tokuichi Inoue (Stevie Wonder's friends and harmonica makers!), Joe Berger playing custom guitar built by Tor Arne Engdal and Jon Hammond at the
exciting new Hammond organ product, the XK-5 
*Note: We will also be appearing at Winter NAMM Show, Frankfurt musikmesse Prolight + Sound and Summer NAMM Show 31st year - this is the New B3 of the Future, now! “The New Original” - JH
XK5 Heritage Series Model Options: XK5 Heritage Pro System MoK5 Heritage Pro System Special Thanks Shigeyuki Ohtaka, Yu Beniya, Masato Tomie and Suzuki Engineering Team - President Manji Suzuki &
Suzuki Team - a pleasure to play the Hybrid Multiple Key Contact System and the All-New Sound Engine totally rocks! Producer Jon Hammond Audio/Visual sound, color Language English Musical Instruments
Fair Japan, Tokyo Big Sight, XK5, XK-5 Organ, Suzuki Musical Instruments, Mercy, Jon Hammond, Chromatic Harmonica, Koei Tanaka, Electric guitar, Joe Berger, Blues Band, NAMM, musikmesse,
#HammondOrgan H.264 download download 1 file MPEG4 download download 1 file OGG VIDEO download download 1 file TORRENT download download 24 Files download 5 Original The Hammond XK-5 http://hammondorganco.com/wp-content/uploads/2016/06/XK5-main-product.pdf "XK5 Single Manual XK5 Heritage Pro System •
XK5, XLK5 lower manual, new Pro Bench (BK), new Pro Stand (BK) • XPK250BK Pedalboard (option, not shown) Model A3 Heritage System • XK5, A3 lower manual (RW), new A3 Bench (RW), new A3 Stand (RW) •
XPK250W Pedalboard (option) 1|Page HAMMOND® XK-5 “THE NEW ORIGINAL” The HAMMOND B-3TM organ and its siblings such as the C-3TM and A-100TM have been the single most influential keyboard instruments
in musical history, perhaps apart from the acoustic piano. When paired with the spinning Leslie® speaker, the HAMMOND’s sonic versatility defined the electrified keyboard sound of genres from rock to
soul to Gospel to jazz. This sound is as sought after today as ever. With the XK-5 and Heritage Series, HAMMOND is proud to announce that we’ve closed the final millimeters of the realism gap—in
terms of both sound and feel—in a form factor that’s far more portable and affordable than a vintage Hammond organ. We are very proud of this instrument for providing an absolutely authentic playing
experience that will meet the demands of even the most seasoned B-3 purist. Frankly, we feel it has no peer among today’s keyboard offerings. “It’s very important to feel comfortable sitting at the
organ. Sometimes I play an organ and it doesn’t feel like what I’m used to. First of all, [The XK-5] feels like a B-3, just sitting at it.” – Dr. Lonnie Smith, legendary jazz organist “It’s a Hammond
B3! That’s what most of us want in essence. But to be able to go beyond that and have all these incredible adjustments ... I’m in love!” – Chuck Leavell (The Rolling Stones) Let’s face it: Moving and
maintaining an antique Hammond will only become more difficult as time passes. Of course we have tons of respect for anyone who does, but to get all of the sound with none of the hassle, let’s learn
why the XK-5 is destined to become The New OriginalTM . NEW PATENT-PENDING TECHNOLOGIES The engineering team we’ve dedicated to the Hammond sound for over 30 years went back to the drawing board for
nearly everything about the new XK-5, analyzing many classic organs and poring over original diagrams and blueprints that only we possess. Here are some of the biggest new ideas in the new Hammond
XK-5. 2|Page Hybrid Multiple Key Contact System: On classic Hammonds (and in our current, full-sized New B-3 Mk. II family), pressing a key closes nine mechanical contacts: one for each drawbar. Your
ears usually hear the multiple harmonics as one note. Depress a key slowly, however, and you can hear the harmonics come in at slightly different times. Normal playing created a subtle “slop” between
otherwise crisp attacks, and the more drawbars you pull out, the more of an almost subliminal but chewy and soulful character it impacts to the sound. One perhaps feels this more than hears it, but
seasoned players certainly notice its absence. You can’t accomplish this with a single MIDI note-on, which is what most of today’s organ and synth key actions use. In the XK-5, we use three
mechanical contacts at different points in the keys’ travel. Each of these in turn triggers three virtual contacts, giving you separate “note on” connections for every drawbar frequency in the same
manner as the original nine-contact electro-mechanical Hammond® organs. The result is a fingers-to-music connection that perfectly duplicates sitting at a vintage B while saving on weight and cost.
Plus, the time-spread between these “note ons” is programmable, as is the order in which you hear the harmonics speak. And since the contacts all receive and transmit MIDI note data, you can capture
every harmonic nuance of your performance in your DAW program of choice—to which you can directly connect the XK-5 via USB. “The first thing that struck me was the action. I played a big Larry Young
chord, and stretching and hitting that top note, it didn’t quite trigger all the way until I really pressed on it. That’s exactly what a B-3 does and what I expect as a B-3 player.” – Jim Alfredson
(Organissimo, Janiva Magness) (Jim – jamming on the XK5 – ModelA3) Completely Redesigned Key-bed: The XK-5’s keyboard action is built in-house, not sourced from a third-party manufacturer. We
designed it to duplicate the heft, bounce, and key dip of a “new old stock” and well-maintained B-3TM: No springy synth keys allowed! Master Hammond players who tested early prototypes confirmed that
nothing comes closer to the feel and response they expect. Of course it has the “waterfall” key fronts critical to Hammond playing techniques such as palm slides. Play the XK-5 alongside any other
modern organ and we’re convinced you’ll find the difference stunning. “The feel of the keyboard, it kicks back at you. It’s not dead, and it feels good. See, that’s what we’re looking for!”- Dr.
Lonnie Smith “It’s like the feel of what I imagine it must have been like in 1968 when you put your hands on a brand new one. It feels great.”- Chuck Leavell 3|Page All-New Sound Engine: The XK-5
employs new proprietary technology to recreate Hammond’s storied tone wheel generator with unprecedented accuracy and flexibility. Tone wheels were spinning discs on shafts, each with its own pickup
pointing at the edge. The pattern of “teeth” cut into the edge of the wheel and its rotational speed determined the pitch. Modeling and sampling are combined in an exclusive process to capture the
frequencies of all 91 tone wheels found in the original organs, not to mention other important sonic details such as key click, harmonic percussion, vibrato-chorus, and more. Tone wheel generators
have become like rare violins or classic cars: Even though Hammond originally calibrated all instruments that left the factory to sound identical, no two are exactly alike after decades of use. So
we’ve extended the programmability of both the overall generator characteristics (such as leakage and cross-talk between pickups) and individual tone wheel behavior (such as the purity of the sine
wave) to almost ludicrous depths. In addition to letting you perfectly duplicate different conditions of Hammonds—from showroom-new to road-abused if that’s what you’re going for—there’s the ability
to recreate individual organs right down to the model, year, and serial number! Presets will capture the exact tonal qualities of famous artists’ instruments, from jazz great Dr. Lonnie Smith to
Chuck Leavell (The Rolling Stones) to Gregg Rolie (Santana, Journey) and more. Virtual Matching Transformer: An often overlooked subtlety of the Hammond sound was that the tone wheels generated tiny
voltages that needed to be stepped up, and you could be “drawing on” some of the same wheels at the same time by playing similar notes with similar drawbar settings on both manuals. All signals from
the upper, lower, and pedal manuals passed through a matching transformer that was intended to even things out before the signal moved on to the preamp and vibrato-chorus scanner. The transformer—a
piece of iron with a coil wrapped around it—could “remember” some of its saturation based on how hard it had been working previously, thus affecting new notes played. Physicists call this hysteresis.
Musically speaking, it affects how much “volume robbing” you hear and adds to what Hammond aficionados think of as the “breathing” quality of the organ. (The phenomenon is similar to why some
recording engineers like transformer-equipped microphones and/or preamps for certain sounds.) In the XK-5, the matching transformer and its place in the signal chain is modeled precisely, and the
saturation and hysteresis amounts are adjustable from barely-there to over-the-top. Like we said, we’re closing the final few millimeters of the realism gap. MORE FEATURES We didn’t stop there. Just
a few of the XK-5’s more than 50 innovations and features include: • Four full sets of Harmonic Drawbars plus pedal drawbars, just like on original Hammond console organs including the B-3. • 12
additional virtual tone wheels are devoted to harmonically complex pedal tones (i.e. more than just 16' and 8' sine waves), as found on Hammonds beginning in 1945. • Custom tone wheel profiles
available via download. • Our best-ever Digital Leslie effect. Anything else is just a “rotary simulator.” • Continuously variable Digital Leslie speed if desired. 4|Page • Dedicated octave shift /
transpose buttons. • Improved DSP-based overdrive complemented by vacuum tube preamp. • Improved vibrato-chorus. • Dedicated on/off buttons and amount knobs for reverb, overdrive, and assignable
multi-FX. • Lower B drawbars can alternately control 9 MIDI CC messages for external gear. • Left and right 1⁄4'' outs can be used at the same time as Leslie output, for running the XK-5 through a
real Leslie in parallel to stationary speakers, a subwoofer, or house P.A. • More key-triggering modes for pedal-to-lower coupler (Manual Bass function). • Firmware updatable via USB flash drive or
directly from computer. • Crisp new OLED display is more readable under different lighting conditions. Of course we’ve retained the things that made working with the XK-3C and our compact SK-series
keyboards a joy. Hold any button and the first page of parameters most relevant to it comes up in the display—holding the Leslie speed button for Digital Leslie settings, for example. This saves you
a ton of menu-diving when customizing your sounds. New patch-naming and copying features also make your housekeeping even easier. HERITAGE SERIES OVERVIEW The single manual XK-5 forms the basis of
our new Heritage Series, letting you configure as large or as small a system as your gig requires. For adding flawless and inspiring Hammond organ sound to your existing multi-keyboard rig, simply
purchase the XK-5 single-manual unit. It contains all the tone-generating “brains” in case you want to expand later. From here, two systems offer a choice between contemporary or traditional looks
for players who require dual manuals and/or pedals. XK-5 Pro System This system is best for touring musicians who carry their own gear but require a full portable B-3. The new XLK-5 lower manual uses
the same key-bed and multi-contact system. It features the same high-quality cabinetry as the main unit, with vertically extended side panels designed to cradle your XK-5. Remove the existing side
panels from the main unit (a quick and simple operation), slide it into place, and you have an integrated dual-manual rig with a seamless appearance. Jazz players who kick bass can add the XPK-250
two-octave radiating pedalboard, which includes our new EXP-250 expression pedal. Though the XK-5 is compatible with previous XK-3 and XK-3C Pro System expansion products such as the XLK-3 lower
manual (though you’ll only get the multiple key contacts on the XK-5 itself), all the new components interconnect via H-BUS, our new connector that simplifies setup by carrying both data and power.
Rounding out the options are the open-footprint aluminum Pro stand, which folds for easy carry, and matching bench. 5|Page Model A-3TM So named because it looks very much like Laurens Hammond’s first
organ, the Model ATM he introduced in 1935, the Model A-3 is ideal for installation in a church or nightclub, or for any application where the appearance of a classic B-series Hammond is desired. It
begins with the XK5 and adds the A-3 lower manual, which functions exactly like the XLK-5 but has thicker side panels. The wooden “B-3 look” stand and bench match the cabinetry perfectly, as does the
XPK-250 pedalboard with expression pedal. HAMMOND will offer different bundles of these components through better retailers everywhere. If you demand no less than perfection from your tone-wheel
organ sound, a feel and responsiveness that will make you close your eyes and imagine you’re playing a vintage B-3, and programmability that will let you recreate any specific Hammond that may be in
your mind’s ear, don’t settle for a “clone.” Insist on The New Original ... the HAMMOND XK-5. “I’m so glad Hammond is carrying on the tradition, and making it even better than it was in the
beginning. Congratulations!” – Chuck Leavell SPECIFICATIONS: Hammond USA 743 Annoreno Drive Addison, IL 60101 www.hammondorganco.com 6|Page Manuals Upper and Lower 73 notes each (61 playing keys plus
12 Preset Keys) Square-front (“waterfall”-style) New mechanical key-bed design Pedal (optional) 13, 20-note spinet-style 25-note radiating Adjustable Pedal Sustain Pedal to Lower coupler Custom Pedal
Registrations (3 Factory, 3 User) Split SPLIT panel control Assignable split point Tone Generator MTWTM (Modeled Tone Wheels) 61-note polyphony for Manuals 5-note polyphony for Pedals Virtual
Multi-ContactsTM Custom Contacts (3 Factory, 3 User) 3 Physical Contacts, 9 Assignable Virtual Contacts Adjustable Attack, Release, Decay Harmonic Drawbars® 5 sets (4 Manuals, 1 Pedal) Upper 2 X 9
pitches Lower 2 X 9 pitches Pedal 2 pitches Drawbar Voicing 4 choices for Manuals (A-100, B-3, C-3, Mellow) 4 choices for Pedals (Normal, Muted, Synth 1 & 2) Custom Tone Wheel (CTWTM) 3 Factory,
3 User for A-100, B-3, C- 3 & Mellow Drawbar Voicings CTW’s identified by model and serial number Adjustable parameters for each tone wheel 12 complex tone wheels for bottom 12 pedal tones.
Touch-Response PercussionTM Percussion On, Normal/Soft Volume, Slow/Fast Decay, 2nd & 3rd Harmonic Adjustable Normal/Soft Volume settings, Slow/Fast Decay rates, Velocity, Key Tracking, 1’
Drawbar Cancel ON/OFF Vibrato & ChorusTM Virtual ScannerTM (3 settings) Adjustable rate, Vibrato/Chorus Mix Vibrato on Pedal ON/OFF Overdrive Tube/Solid State Adjustable drive level Preset Keys 9
Presets plus Cancel each Manual 2 Adjust Presets each Manual 9 programmable Preset Banks Patches 100 User, 100 Factory Patches Assignable to Preset Keys as Favorites Assignable Patch Load: Drawbar
registrations, Drawbar parameters, Internal & External Zones, Multi- Effects, Reverb. Tube Preamp 12AU7/12AX7 Tubes Adjustable Routing & Drive Level MTTM Matching Transformer Adjustable drive
level, Hysteresis, upper/lower/percussion levels Multi-Effects Tremolo, Auto Pan, Wah-Wah, Ring Modulator, Phaser, Flanger, Chorus, Delay. Adjustable parameters for each effect. Master Equalizer
Bass/Mid/Treble panel controls Adjustable gain & center frequency Programmable Equalizer Bass, Mid, Treble Adjustable center frequency Hammond Preamp Tone Control Leslie® STOP, FAST, BYPASS panel
controls. Custom Cabinets (8 Preset, 8 User) Adjustable Slow & Fast Speeds, Rise & Fall Times, Horn/Drum/Subwoofer Volume Balance, Microphone Settings. Reverb ON/OFF panel control 11 programs
Leslie On Reverb ON/OFF MIDI 5 MIDI Templates 3 Keyboard Channels (Upper, Lower, Pedals) 6 External Zones (3 Upper, 2 Lower, 1 Pedals) Assignable MIDI channels, key range, Program Change, Pan,
Velocity Curve, Min/Max Volume IN 1, IN 2, OUT Connections Display OLED, 20 character, 2 line 7 Control Buttons & VALUE Rotary Knob USB “A” port (“To USB Flash Drive”) “B” port (“To Host”)
Tune/Transpose Transpose +- 6 semitones Fine Tune +- 10 cents Octave Up/Down +- 2 octaves H-BUS® Connector To Pedals/Expression Pedal Audio Connections LINE OUT L/MONO / R Headphone Jack 11-pin
Leslie® Connector Other Connections CONTROL 1, CONTROL 2, 8-pin DIN (EXP-100F Expression Pedal) AC Input Dimensions 46.8” (W) 15.8” (D) 4.7” (H) Weight 34.6 lbs. " Jon's archive https://archive.org/details/MusicalInstrumentsFairJapanNOXCESSBAGGAGEBLUESInSuzukiMusicalInstrumentsStandXK5
Youtube https://youtu.be/F5Fq9rDCruk Vimeo https://vimeo.com/190629641 Sennheiser In The News led by system
designer Norbert Hilbich AMBEO 3D audio soundscapes guidePORT system wow! Jon Hammond Courtesy of Installation AV integration in a networked world LINK http://www.installation-international.com/sennheiser-to-provide-3d-music-for-va-revolution-exhibition/
Photo: Dave Robinson --Sennheiser audio solutions 
- Daniel
Sennheiser, CEO of Sennheiser – pictured (centre) holding a replica of a 1968 set of Sennheiser headphones - Installation AV Says: "Sennheiser has announced a new collaboration with the Victoria
and Albert Museum (V&A) in London for the forthcoming exhibition You Say You Want a Revolution? Records & Rebels 1966 – 1970. The exhibition will open to the public on 10 September 2016 and
run until 26 February 2017, following which it will tour internationally. Sennheiser will provide immersive sound utilising its AMBEO 3D audio technology delivered through a guidePORT audio guide
system. Curated by Geoffrey Marsh and Victoria Broackes, the curatorial team behind the V&A’s David Bowie is, the new exhibition is designed in six distinct sections. It will explore the late
1960s through hundreds of exhibits from the V&A’s extensive collections alongside a selection of loans that range from design, music, film, fashion and consumer products to photography, posters
and books. It is designed by Nissen Richards Studio, with video content designed by Fray studio, and sound design by Carolyn Downing. Music will play a key role in the exhibition, said Broakes: “The
music running through You Say You Want a Revolution will represent the backbone and heart of the exhibition; it will be an object in itself. Therefore, we are delighted to be working with Sennheiser
once again. Their expertise in 3D immersive audio will push the limits of the sound experience still further.” Working closely with the exhibition’s sound designer Carolyn Downing, the Sennheiser
team, led by system designer Norbert Hilbich (left of picture), will be setting up two AMBEO 3D audio soundscapes. One will place visitors in an immersive environment evoking the political issues and
fight against censorship and the establishment of the late 1960s while the other will recreate a live concert atmosphere with upmixed audio material from the period. Hilbich told Installation that
the new exhibition will contain a lot more music than David Bowie is. “We have quite a big bunch of songs that they think we should transfer to 3D audio, but the process is not finished. There are
plenty of ideas – we now have to [think about] how we put it into operation, what will it sound like, which part of the songs we should take and so on.” After being set up in the studio, Hilbich
added, the mix will be adjusted on site to suit the acoustics of the venue – as was also done with the Bowie exhibition. Visitors will be accompanied through the exhibition by a Sennheiser audio
guide system. The guidePORT system will deliver hundreds of personal, automatically triggered stereo feeds simultaneously. It will transmit real-time, lip-sync audio to fully immerse visitors in the
sights and sounds of the late 1960s. The system at the V&A will comprise 750 receiver units with high-quality headphones, along with several transmission and trigger units that will be hidden
from sight. Robert Genereux (right of picture), business director system design at Sennheiser, said: “The headphone part [using the guidePORT system] will be similar, but along the way they are going
to create ‘disturbances’ in the headphone experience in different sections. This will be a little bit of a difference [from] the guidePORT experience for Bowie, which is uniform all the way from the
beginning to the ‘show moment’.” Daniel Sennheiser, CEO of Sennheiser – pictured (centre) holding a replica of a 1968 set of Sennheiser headphones – commented: “We are absolutely thrilled to
cooperate with the Victoria and Albert Museum on yet another fantastic project. The V&A is uniquely positioned to curate an exhibition about this transformational time in our more recent history.
The artistic quality of the exhibition together with spectacular exhibits and an innovative state-of-the-art sound experience, featuring Sennheiser’s AMBEO 3D audio technology, will make this
exhibition a truly immersive experience.” Photo courtesy of PSN Europe: Dave Robinson "Bag O’Nails staircase pic: Sennheiser’s Robert Genereux (business director system design, strategic
collaborations); Daniel Sennheiser, holding the reproduction HD414s; Eric Clapton(!) c. 1968; Norbert Hilbich (Sennheiser director spectrum affairs & system design)" 
PSN Europe Says: "Sennheiser to play
major role at Sgt Pepper exhibition" LINK http://www.psneurope.com/sennheiser-to-play-major-role-at-sgt-pepper-exhibition/ "Shards from Jimi Hendrix’s and
Pete Townshend’s shattered guitars… The brown fringe jacket Roger Daltrey wore at Woodstock…. Handwritten lyrics for Lucy in the Sky with Diamonds by the Beatles… The suits worn by John Lennon and
George Harrison on the cover of Sgt. Pepper’s Lonely Hearts Club Band… All of these incredible artefacts are to be included in a major cultural retrospective to be held at the Victoria & Albert
(V&A) Museum in September 2016. Called You Say You Want a Revolution? Records and Rebels 1966–70, the exhibition will explore the era-defining significance and impact of the late 1960s upon life
today. It follows the success of 2013’s David Bowie Is – the most popular exhibition ever held at the V&A – and once again, Sennheiser technology, including the guidePORT system and the emerging
AMBEO 3D environment, will play a major part in the presentation and production of the show. You Say You Want a Revolution? Records and Rebels 1966–70 will “investigate the upheaval, the explosive
sense of freedom, and the legal changes that took place resulting in a fundamental shift in the mindset of the Western world”, say the curators, Victoria Broakes and Geoffrey Marsh. More than 350
objects from the period, encompassing photography, posters, literature, music, design, film, fashion, and performance, have been procured for the show: even a moon rock, and an Apple 1 computer (of
which there are only four working models in the world). Details of Record and Rebels 1966-70 – which will run from September 2016 to February 2017 – were revealed at former legendary ’60s bar (now a
private club) the Bag O’ Nails, just off London’s Carnaby Street, at the end of February. Martin Roth, director of the V&A, said it was one of the most important exhibitions the museum had
curated. Broakes and Marsh agreed that the Sgt Pepper suits were some of the most difficult objects to secure – but they were items considered essential to the show. Levi’s and Sennheiser are key
sponsors of the event, along with outfitter Fenwick and stylist Sassoon. “I knew some of the concept, but not all of it until today, so and I think it’s going to be a really, really exciting
exhibition!” Sennheiser co-CEO Daniel Sennheiser told PSNEurope at the launch. He noted that one of the show themes – how the 1960s have shaped how we think today – is very much in tune with his
company philosophy. In an introductory speech at the Bag O’Nails, Daniel spoke of how his grandfather’s business had mass-produced the HD414 headphones starting in 1968, and how it had gone on to be
the “most sold headphone in the world”. Later, while clutching a pair based on the original ’60s design, Daniel told PSNEurope that the phones were never planned as a product but came about when some
of the Sennheiser engineers were “playing around with microphone capsules” and noticed the transparency of the sound when they were placed close to the ear. “My grandfather [Fritz Sennheiser] said,
OK, let’s make a product out of it. He asked the distributor at the time how many they could sell. But no one could imagine having a hi-fi sound ‘in your head’. The distributor said, maybe 500
worldwide! But grandfather said, to make it work financially, I need to make 5,000. “So he made 5,000 – and it was sold out in three months. And today, more than 12m pieces have been produced. And we
can still sell you replacement earpads for a 1968 pair!” revealed Daniel. Working with the exhibition’s sound designer Carolyn Downing, the Sennheiser team (led by system designer Norbert Hilbich)
will be setting up two AMBEO 3D audio soundscapes at the museum. One will place visitors in an immersive environment evoking the political issues and fight against censorship and the establishment of
the late 1960s; the other will recreate a live concert atmosphere with upmixed audio material from the period. Of AMBEO 3D – demonstrated in London last year but launched official at CES earlier in
2016 – Daniel says: “The idea is to transport you into a different place. “We’re still learning how to use it and what we [can] do with it. It’s not just one technology, it’s about the capturing, the
mixing, the creation of the spacial audio, then the processing and the playback. [But] that’s where Sennheiser is uniquely positioned [at the V&A]: to provide the 3D audio and create an emotional
experience in an exhibition which is already emotive in its content, so it’s a really good case study and demonstration for us.” Visitors will be accompanied through the exhibition by Sennheiser’s
guidePORT system, as they were for David Bowie Is…. GuidePORT can deliver hundreds of personal, automatically triggered stereo feeds simultaneously, and will transmit real-time, lip-sync audio to
fully immerse visitors in the sights and sounds of the period. The V&A implementation will comprise 750 receiver units with premium headphones (though Daniel didn’t know which models at the
time), along with several transmission and trigger units, hidden from the public eye. David Bowie Is has been on tour ever since the March 2013 V&A launch: it’s visited Toronto, Sao Paolo,
Chicago, Melbourne, the Netherlands and is about to open in Tokyo. Daniel remarks, “If [Records and Rebels] is successful, I would love it to go on tour – but that is the V&A’s decision.” Is
Daniel a big fan of music from the era? “I would have loved to have been alive at that time. I’m a big fan of Zappa, Hendrix, Bob Dylan. I play guitar and piano – but I have more passion than
talent!” www.sennheiser.com http://www.vam.ac.uk/content/exhibitions/exhibition-you-say-you-want-a-revolution-records-and-rebels-1966-70/
" 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 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's archive https://archive.org/details/CableAccessTVPreview1015JonHammondShowMusicPictorialSpecialAroundTheWorldJazzBluesSoftNews
by Jon Hammond Cable Access TV Preview 1015 Jon Hammond Show Music Pictorial Special Around The World Jazz Blues Soft News #1015 Description JON HAMMOND Instruments: Organ, Accordion, Piano, Guitar
Attended: Berklee College of Music 1974, City College San Francisco Languages: English, German Musician: Jon Hammond is one of the premier B3 PLAYERS in the world. Jon has played professionally since
age 12. Beginning as a solo accordionist, he later played Hammond B3 organ in a number of important San Francisco bands. His all original group HADES opened shows for Tower of Power, Quicksilver
Messenger Service and Michael Bloomfield. Eddie Money and Barry Finnerty became musical associates. Moving East he attended Berklee College of Music and played venues as diverse as Boston's "Combat
Zone" in the striptease clubs during the '70's and the exclusive Wychmere Harbor Club in Cape Cod, where he was house organist and developed a lasting friendship with House Speaker Tip O'Neill. He
also toured the Northeast and Canada with the successful show revue "Easy Living", and continued his appearances at nightclubs in Boston and New York. Subsequently Hammond lived and traveled in
Europe, where he has an enthusiastic following. TV/Video Producer: In 1981 Jon formed BackBeat Productions. Assisted by Lori Friedman (Video by LORI), the innovative TV show "The Jon Hammond Show"
became a Manhattan Cable TV favorite. Jon's "Live on the street" video style included news events, as well as live music/video clips of Dizzy Gillespie, Paul Butterfield, Jaco Pastorius, John
Entwistle, Sammy Davis Jr., Percy Sledge and many others...#LISTEN AUDIOPHILE HERE: AUDIO Audiophile Quality Pro Tools Recordings from NDR Studio 1 on HammondCast 25 Radio Broadcast Jon's archive
https://archive.org/details/HammondCast_25 Views 3,740 #3740 HammondCast 25 from organist/accordionist Jon Hammond, broadcasting from San Francisco with Clifford Brown Jr. & Chris Cortez talking
about Jon's music and fresh new tracks from Jon's forthcoming record: "NDR SESSIONS Projekt" with saxophonist LUTZ BÜCHNER, trombonist JOE GALLARDO, drummer HEINZ LICHIUS and JON HAMMOND on the new
Hammond XK-3 organ/bass recorded in NDR Radio's Studo 1 with NDR Engineer RUDY GROSSER at the controls..Moving East he attended Berklee College of Music and played venues as diverse as Boston's
"Combat Zone" in the striptease clubs during the '70's and the exclusive Wychmere Harbor Club in Cape Cod, where he was house organist with Lou Colombo. Jon Hammond played Hammond organ on the Mike
Myers movie "The LOVE GURU" (unseen) Paramount Pictures backing up Telma Hopkins as "Lillian Roanoke" when she sings "Star Spangled Banner" at the Hockey game. Jon Hammond's Sennheiser evolution
microphone Monophonic Recorder combo Headphone HD 25-1 Classic and Songs http://www.HammondCast.com Photo: At Sennheiser Headquarters Wedemark Germany: L to R
Knut Benzner NDR Radio with his famous White MD 421 N Factory Restoration Perfect and Sennheiser's Norbert Hilbich - photo by Jon Hammond 
B3 organ, Hammond orgasm, Rock Club,
Tokyo Japan, Koei Tanaka, Chromatic Harmonica, Jon Hammond, #B3 #Hammondorgasm #FunkyJazz #HammondOrgan