Posts Tagged ‘Headphone’

Attention Jeanne Moos producers at CNN – Submitted 3/22/2017 Low Audio

March 22, 2017

Attention Jeanne Moos producers at CNN – Submitted 3/22/2017 Low Audio

Idea Summary:

Hi Jeanne, Jon Hammond here


– met you a few years ago at Mitchel London’s on Ninth Ave. (now closed) – greetings! I want to tell you that I always try to watch/listen to your pieces on the CNN website, the commercials’ audio comes bombing in – but your audio is so low that you can hardly hear you – the commercials are at least 10 times louder. I have a top-of-the-line MacBook Pro in perfect working order so it’s not my computer. Yes there are a lot of us who can’t get CNN on cable TV, please tell your Web Admin. people to turn your audio up so we can hear you Jeanne! If they are telling you everything is fine, I’m writing to tell you they are shorting you big time on the audio gain – you should be as loud as the darn commercials, or at least half if they insist on cranking the commercials up – when I turn up the volume all the way on your pieces I can just barely hear you – the only way to get a copy is by plugging in my Sennheiser HD 25-1 studio headphones – what they are doing to your sound is ridiculous and disrespectful to your excellent Jouranlism! – Thanks very kindly for your attention, sincerely, Jon Hammond *Member AF of M Local 802 Musicians Union

Submitted By:

Jon Hammond, Local 802 Musicians Union

322 W. 48th Street

New York,New York 10036

United States of America

*WATCH THE MOVIE HERE: HEAD PHONE Podcast Meetinghouse Jazz Orchestra Session

Jon’s archive https://archive.org/details/HEADPHONEPodcastMeetinghouseJazzOrchestraSession

by Jon Hammond

Published October 23, 2015
Usage Attribution-Noncommercial-No Derivative Works 3.0
Topics Head Phone, Sennheiser, Superlux, Meetinghouse Jazz Orchestra, Todd Anderson, Bob Rosen, Jon Hammond, Horn Section, Funky Jazz, Friends Seminary, #HammondOrgan #HeadPhones

CNN iReport http://ireport.cnn.com/docs/DOC-1278572

Vimeo https://vimeo.com/143461502

Youtube https://youtu.be/c57WST4w-qQ

Facebook Video Vers. 2.0 Ultra HighDef HEAD PHONE Podcast Meetinghouse Jazz Orchestra + #HammondOrgan Hammond Organist Jon Hammond covering bass: https://www.facebook.com/jonhammondband/videos/1148019035226892/

“Head Phone” was written by organist Jon Hammond and Arranged by Todd Anderson – Podcast of Session with Meetinghouse Jazz Orchestra from the inner sanctum of Friends Seminary, 230 year old school K-12 on Manhattan’s East Side – Bob Rosen presiding over the Music Department. On guitar David Acker, drums Mike Campenni, Greg Ruvolo trumpet, Jim Piela saxophone, Jon Hammond organ & bass, Pat Hall, Art Baron, Alfredo Marques trombones, Charles Lee alto, more names coming! ©JON HAMMOND International ASCAP http://www.HammondCast.com – Associated Musicians of Greater New York, Local 802 AFM – AFM Local 6 – TV Producers of Manhattan Neighborhood Network [MNN] Manhattan Neighborhood Network
Published October 24, 2015
Usage Attribution-Noncommercial-No Derivative Works 3.0
Topics Head Phone, Sennheiser, Superlux, Meetinghouse Jazz Orchestra, Todd Anderson, Bob Rosen, Jon Hammond, Horn Section, Funky Jazz, Friends Seminary, ‪#‎HammondOrgan‬ ‪#‎HeadPhones‬
Producer Jon Hammond
Language English

This is my Lucky Day folks…I just had breakfast in Manhattan with Lee Houskeeper, friends from ‘real San Francisco CA’! Lee knows everybody worth knowing and is Chief Editor San Francisco Stories – Press Agent extraordinaire! Great to see you on this side of the good ol’ US of A Lee!

Jon Hammond *Note: Folks, Lee worked with some of my all-time favorite musical and political activist heroes including the late great Phil Ochs who was a huge inspiration to me, greatly missed! *Wiki:”Kansas City Bomber” is a song by Phil Ochs, a U.S. singer-songwriter best known for the protest songs he wrote in the 1960s.
In 1972, record producer Lee Housekeeper asked Ochs to write the theme song for the film Kansas City Bomber, a film about roller derby starring Raquel Welch.[1][2] Although Ochs enjoyed watching the sport on television, composing the song proved difficult, as Ochs was suffering from writer’s block.[1][2] At last, he made a demo, on which Micky Dolenz of The Monkees sang back-up vocals.[3]
Months later, Ochs was traveling in Australia. Housekeeper told him the film’s producers liked his demo, but it was not exactly what they were looking for. Ochs decided to make a new recording of the song, backed by the Australian rock band Daddy Cool.[4][5]
Ultimately, the film’s producers chose not to use the Ochs song in the soundtrack.[6] Nevertheless, he convinced his record company, A&M Records, to release it as a single. The record sold poorly.[6]
In the only known review of “Kansas City Bomber (song)”, Record World wrote that “progressives will find this a moody change of pace.”[7] Billboard included the single in its “Also Recommended” column.[8]
In 2001, writer Mark Brend described “Kansas City Bomber” as “unremarkable”.[9] Biographer Michael Schumacher wrote in 1996 that the song “was neither an admirable work nor an embarrassment”.[10]
Many Ochs fans never heard “Kansas City Bomber” before it was included in 1988’s The War Is Over: The Best of Phil Ochs. The song was also included in the 1997 collection American Troubadour.”

Jon’s archive https://archive.org/details/LYDIASTUNEMeetinghouseJazzOrchestraPodcast

by Jon Hammond

Jeanne Moos, Low Audio, CNN Website, Jon Hammond, Headphone, Sennheiser, #CNN #JeanneMoos #Audio

Sennheiser In The News led by system designer Norbert Hilbich AMBEO 3D audio soundscapes guidePORT system wow! Jon Hammond

October 8, 2016

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 Bandmast 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

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144
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Youtube https://youtu.be/Faq_A58v4sE

275 views
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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

#WATCHMOVIE HERE: Cable Access TV Preview 1015 Jon Hammond Show Music Pictorial Special Around The World Jazz Blues Soft News

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

Lutz Büchner, NDR Jazz, Blues and News, Radio TV Sennheiser Microphone, Headphone, MD 421 N, #XK5 #B3 #NAMM #Musikmesse #HammondOrgan

Side Camera – HeadPhone NAMM Showcase

October 2, 2016

#WATCHMOVIE HERE: Side Camera – HeadPhone

Jon’s archive https://archive.org/details/HeadPhoneFunkMasterpieceJonHammondBandWithBernardPurdieSideCamera

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173
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Youtube https://youtu.be/VfGi_QFZalc

189 views
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Usage Attribution-Noncommercial-No Derivative Works 3.0
Topics Funk, Head Phone, NAMM Show, Bernard Purdie, Drums, Hammond Organ, Jon Hammond, Band, B3 organ

Allowed on Timeline
Side Camera – thanks Tino Pavlis & Joachim Wiesel
Jon Hammond Band showcase for Hammond Organ USA / Suzuki Musical Instruments at The NAMM Show in honor of 80th anniversary of Hammond Organs on the Sound Soul Summit program – Jon Hammond original funk composition “Head Phone” featuring legendary Fatback Funk drummer Bernard “Pretty” Purdie and Jon’s long-time colleague Joe Berger on guitar, from Tokyo Japan Koei Tanaka Suzuki Harmonica artist Suzuki Harmonica – Alex Budman tenor saxophone and Jon Hammond at the B3mk2 organ and high-power model 3300 Leslie Speaker with FOH mix by Brian English Audio Denny Mack – MC Stephen Fortner & Scott May

Side Camera – thanks Tino Pavlis & Joachim Wiesel
Jon Hammond Band showcase for Hammond Organ USA / Suzuki Musical Instruments at The NAMM Show in honor of 80th anniversary of Hammond Organs on the Sound Soul Summit program *Note: Jon Hammond Band played immediately before the late great KEITH EMERSON on the program, Keith was up next – Jon Hammond original funk composition “Head Phone” featuring legendary Fatback Funk drummer Bernard “Pretty” Purdie and Jon’s long-time colleague Joe Berger on guitar, from Tokyo Japan Koei Tanaka Suzuki Harmonicas artist Suzuki Harmonica – Alex Budman tenor saxophone and Jon Hammond at the B3mk2 organ and high-power model 3300 Leslie Speaker with FOH mix by Brian English Audio Denny Mack – Youtube LINK: https://youtu.be/1r0SSgNoJXU – MC Stephen Fortner and Scott May

Producer Jon Hammond
Language English

Interviews Sennheiser Jon Hammond Headphones Microphones Organ Accordion Music Archive NAMM Musikmesse

L to R Dr. Andreas Sennheiser, Jon Hammond, Daniel Sennheiser

Jon’s archive http://ia601507.us.archive.org/7/items/HeadPhoneStickWithSennheiser/Head%20Phone%20stick%20with%20Sennheiser.mp4

Sennheiser (headphones) Momentum series

with tribute to Lutz Büchner on solo section:
Head Phone stick with Sennheiser (headphones) Jon Hammond’s 20th annual Musikmesse Session in Jazzkeller Hofheim – funky jazz with Giovanni Totò Gulino drums, Peter Klohmann tenor saxo, Joe Berger guitar, Jon Hammond at the Sk1 Hammond organ – Jon’s keyboard stand by
Bespeco Professional, Audio: Philipp, Konrad Neupert, Marvin Gans Jazzkeller Hofheim Team – special thanks Jeff Guilford / JJ guitars for operating the camera http://www.HammondCast.com

Sennheiser HD 25-1

NAMM Oral History Interview Jon Hammond by Dan Del Fiorentino and Tony Arambarri

Jon’s archive https://archive.org/details/JonHammondJonHammond_NAMM.orgOralHistoryInterviewDate_January13_2011FullVersion_0

Views
144
#144

Youtube https://youtu.be/Faq_A58v4sE

275 views
#275

Usage Attribution-NonCommercial-NoDerivs
Topics NAMM Oral History, Musikmesse, Mini-B, NAMM, G37, G27, Leslie Speaker, Onions, Jazz, Blues, Musicians Union, Local 802, ASCAP, KYOU Radio, Anaheim, Frankfurt, B3 Organ, XB-2, Leslie Speaker

Jon Hammond | NAMM.org Oral History Interview Date: January 13, 2011

namm.org/ library/ oral-history/ jon-hammond

Jon Hammond
Interview Date: January 13, 2011
Job Title: President and Founder
Company: Jon Hammond & Associates
accordions electric organs Hammond B-3 Hammond Organs Jazz Music Manufacturing Musicians

Jon Hammond


Jon Hammond has successfully created a career based on his musical talents and his passion for the music industry! As a musician Jon has performed with many legendary players and as a clinician and product artist he has introduced many innovative products to music stores and their customers over the last 30 plus years. Jon is closely identified with the two main products of his career, the Excelsior Accordion and the Digital B3 Organ.

Subject Info Jon Hammond Interview Date: January 13, 2011 Job Title: President and Founder Jon Hammond & Associates Jon Hammond has successfully created a … of his career, the Excelsior Accordion and the Digital B3Organ. (accordions, electric organs, Hammond B-3, Hammond Organs)

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“Interview: Co-CEO Dr Andreas Sennheiser” credit: PSN Europe http://www.psneurope.com/interview-co-ceo-dr-andreas-sennheiser/

“Dr Andreas Sennheiser took over the running of his family business with his brother Daniel in May of 2013. In the three years since, the company has released some notable technology – but there have been some serious changes at the company along the way. In an wide-ranging and candid interview, Dave Robinson discovers what the young co-CEO thinks about the $50k Orpheus headphones, the restructuring of the company, the fiercely competitive marketplace and what gets him out of bed in a morning…

Let’s begin with AMBEO, your 3D, immersive audio concept.

Dr Andreas Sennheiser: At CES, we launched something we’ve been working on for the last 5-7 years: algorithms for ‘immersive audio’. When we started research, we thought it was going to be relevant: it was a gut feeling that what exists wasn’t good enough. While we did research on these algorithms, we didn’t know where it was going to go, but with big content providers such as Universal and Red Bull Media embarking in 360-degree video and immersive audio recordings in the last 12-18 months, suddenly a huge new world has opened up for us. So, we’ve started to compile all the technology into distinct solutions for recording, mixing, processing, playing back. And that’s what we showed with the AMBEO brand at CES [and NAMM and PL+S]. It’s the starting point of something we will develop with our customers.

We really are positioning ourselves to take advantage of whatever 3D format emerges, a format with a higher emotional impact. Many artists have said to us, the only way to really connect with the audience the way they want to is to play live – but if they had a format that captured that, so that users at home could listen to it in a way similar to actually being there, then they would have a higher engagement with the listeners. That’s when we got serious about bringing AMBEO to the market.

At NAMM you demonstrated a surround-style ‘tetra mic’, with its ‘virtual miking technique’ software, which could change the way things are recorded…

The interesting thing about this is that we have to combine different technologies in order to make the immersive experience perfect; to integrate different technologies to make the transition from reality to virtual reality seamless.

With third party involvement?

By presenting it in its initial stage, it’s an invitation to our customers to think ahead, whether that’s a possible approach for them, how they would use it, and to find new applications for it. It’s all software based at the moment – we have a virtualisation algorithm, an upmix algorithm – we don’t really have a hardware decoder at this point, but if we see a stronger need, we can go in that direction, too.

Let’s talk about Orpheus, the HE 1, the ‘world’s most expensive headphone’.

The HE 1 for us is a product, a statement, and an indication of our innovation culture, to a certain extent. We could have said, we still have the Orpheus from 1991, it’s still considered the best headphone in the world, why do something better? But part of our culture is to not be happy with anything that exists now, regardless of whether we invented it or not. About 10 years ago, we decided it was the time for the world to experience the next level. On one hand, it’s beyond common sense. But, on the other, by being so intensively on the limits of physics, we learn so much for other applications.

You make it sound like the Space Programme…

Yes, exactly, and this pushes the entire Sennheiser culture into new ways. Think about the effect this has at the company when a group of people bring out a flagship that will be there for another couple of decades. That has a huge motivational impact on the other employees; at the same time, it tells the industry that what exists is not good enough for Sennheiser, so we will push it forward.

I’ve heard the HE 1s. They make sound ‘visceral’, I would suggest.

People have ‘seen’ things, heard things which they haven’t heard before, or been able to describe.

Do you think they are worth $50,000?

[Immediately] Absolutely. No doubt.

What sort of reaction have you had to them?

A product like this is dividing: people who rave about it, others who say, Is it worth the money? But to me, it’s not the point: it’s about buying into an exclusivity which sets you apart, in a positive way, from the masses. It’s connoisseurship. From the feedback we’ve got, most of the customers who are interested in the HE 1 are audiophiles who say, Audio is my life.

The original Orpheus had a run of some 300 units. When HE 1 ships later this year, will that be limited to 300 too?

We are not planning any limitation this time: but it is limited by the price and the capacity – making one per day – and the level of customisation. We have significant requests for customised versions.

You mean I can have them in pink?

Someone wants it in solid jade instead of marble, for instance. The exclusivity includes the concept of a one-off product, as long as the sound properties are not affected.

How many do you think you’ll be making?

We have more than 50 ordered. I don’t believe it’s going to stop at 100 or 200. I personally believe that it’s something that’s going to be with you for life, and we will offer servicing on it so it will be with you as long as you want to enjoy it.

Turning to the other end of the market, consumer headphones: it’s an increasingly aggressive and crowded marketplace. What is Sennheiser doing there?

We’re trying to be more focused on specific target groups. With the Momentum line, for example, we are targeting a specific type of personality, people who have a certain style and way of expressing themselves. We’re not just looking at price points and shelf space, and that will set us apart from just having X metres of headphone hangers.

You put into place a ‘selective distribution’ model a couple of years ago – other makes have done that too…

It ensures that the brand is represented in the appropriate way. If [our models] were at a cash-and-carry checkout for five pounds [six euros], it would just damage the brand. You can’t credibly have a product like that and the HE 1.

Are you worried that brands like Beats are changing the market?

It’s not necessarily a concern – it is, rather, keeping us on our toes. That increasingly competitive environment was beneficial in two ways: one, it grew the market; two, it forced us to think what Sennheiser is all about, what is at our core, what is our heritage. We’re the only ones to have the 1968 invention of the open-back HD 414 headphone; we’re the only one that has the innovation culture and heritage. How can we use that to be more relevant and have a higher value for the customer? So, with the success of the Momentum line, the higher end HD 800 line, the professional headphones – the HD 25 still being an icon – this process has been healthy for us because it gave us a stronger sense of identity which we are able to communicate.

How successful has the D9000 digital wireless system been?

It’s a huge success, especially in the last year where the ‘Digital Dividend’ [spectrum sell-off] in Japan gave us extra demand and business. Digital 9000 is successful beyond our initial imagination for a simple reason: we positioned and developed it as a system to be used on stage for singers and touring, because it was so flexible. But the corporate world has discovered it, because of its high-level encryption and flexibility in use. We saw a lot of companies adopt it, such as a major American retail chain. There’s a huge market there.

Since you and your brother Daniel became joint CEOs three years ago, you’ve restructured the company. I get the impression, some of that has been easy, and some of it has been hard. Is that correct?

We went from a territorial approach to a sales channel approach. In Europe, there’s no borders for commerce. Consumer is one part, professional is another, and so on.

In a reorganisation like that, you always have a working assumption. Sometimes you assume, sometimes you just hope for the best. The reorganisation was a great success, especially with the feedback we got from our customers. Did everything work out like we planned? With a change of that magnitude, we discovered things we had to fine-tune. That was a learning experience. For us it was more important to go in the direction that makes sense for the future rather than stay with something we know but might not be any longer relevant.

Some of your ideas were quite radical: staff had to look at their roles within the company and say, this is what I do, and this is what I want to do…

You are spot on. We had hundreds of people in new roles, so there was an element of change management.

…Which can be difficult.

Absolutely! And I have empathy with people who are uncertain for a period, who have to find their role and it’s not all clear from Day One. But part of our culture is to go through changes with our employees, and that means everyone can design their future and their fate, which brings the downside of uncertainty with it.

But some people don’t want to do that.

Yes, but it’s part of our nature to involve people in their own destiny rather than giving them 100% certainty but no influence.

The impression I got from the staff video, made for the company’s 70th anniversary last year, is that your employees are pleased to be a part of the Sennheiser phenomenon. The smiles from the people in the factory were natural, not forced.

The passion and commitment, the joy of what we do is everywhere at Sennheiser. And that’s really part of my personal motivation. Seeing people committed to that extent gives me a reason to go forward.

Do you ever feel the burden of the family legacy, though? When you wake up, do you ever think, [in panicked voice] ‘Oh God, I’m running Sennheiser!’…?

[Smiling broadly] With great responsibility comes a certain weight. You have to think about what is good for the company, the customers, the employees. There are moments of doubt and pressure, but all-in-all, what makes me so confident of getting up in the morning is that I’m not alone here, there are 2,700 people who are highly committed and enjoy what they do. It’s not on my shoulders, it’s on 2,700 pairs of shoulders making their own destiny. With that in my mind, it’s easy to get up and assume that responsibility.

Good answer! What do you think you still need to do at the company?

Become quicker, more nimble to reacting to customer feedback.

Sennheiser seems to think about what it’s going to do, thinks some more, and then makes its move. It took you ages to adopt Dante, for instance. That approach can be positive – but negative too.

If 80% of our decisions are well-thought through and strategically directed, that’s exactly what we need. In hindsight, we could have taken some decisions earlier. On the other hand, ‘German engineering and thinking’ takes time. What our next challenge will be, is to preserve the thoroughness of where we want to go, but add an element of ‘start-up’ activity. A start-up culture with 70 years of experience, if you will. If we can do that, then we will be even quicker when supplying the customers with what they want.

Last question: the factory is on fire – you run in and grab three items. What are they?

First, the photo of my grandfather [Fritz Sennheiser, who started the company]. Second, the Emmy Award. [In 2013, Sennheiser was awarded the Philo T. Farnsworth Award, presented to a company whose “contributions over time have significantly impacted television technology and engineering”.] Third, my trolley, which holds all the stuff I use for daily work…

But which one product do you put on that trolley?

The D9000.

Not a classic microphone or headphone?

D9000 is a statement of innovation, and is ‘classic’ at the same time. It’s one of a kind. It’s an icon. It shows all the competency that’s in this company.

www.sennheiser.com

Sennheiser Wiki https://en.wikipedia.org/wiki/Sennheiser

Sennheiser electronic GmbH & Co. KG (/ˈsɛnhaɪzər/; branded Sennheiser) is a private German audio company specializing in the design and production of a wide range of both consumer and high fidelity products, including microphones, headphones, telephony accessories, and avionics headsets for consumer, professional, and business applications.

ndustry Audio electronics
Founded 1945 (as Labor W)
Headquarters Wedemark, Hanover, Lower Saxony, Germany
Key people
Fritz Sennheiser, founder
Daniel Sennheiser, CEO and Chairman of the Board
Products Audio electronics for consumer, professional, and business uses
Owner Sennheiser family
Number of employees
2,183 as of 2011

The company was founded in 1945, just a few weeks after the end of World War II, by Fritz Sennheiser (1912–2010)[2][3] and seven fellow engineers of the University of Hannover in a laboratory called Laboratorium Wennebostel (shortened, “Lab W”). The laboratory was named after the village of Wennebostel in the municipality of Wedemark to where it had been moved due to the war. Its first product was a voltmeter.[1] Lab W began building microphones in 1946 with the DM1, and began developing them in 1947 with the DM2. By 1955, the company had 250 employees, and had begun production of many products including but not limited to: geophysical equipment, the Noise-Compensated microphone (DM4), microphone transformers, mixers, and miniature magnetic headphones. Labor W was renamed ‘Sennheiser electronic’ in 1958.[citation needed]

In 1968, Sennheiser released the world’s first open headphones.[4] The introduction of open headphones affected the headphone market as they were able to produce a more natural sound that many users preferred.[5]

Sennheiser was transformed into a limited partnership (KG) in 1973. In 1980, the company entered the aviation market, supplying Lufthansa with headsets.[6][7]

The company began producing modern wireless microphones in 1982, the same year when founder Fritz Sennheiser handed the management of the company over to his son, Jörg Sennheiser. In 1987, Sennheiser was awarded at the 59th Academy Awards for its MKH 816 shotgun microphone.

Also in 1991, Georg Neumann GmbH, Berlin, which builds studio microphones, became a part of Sennheiser.[8][9]

In 1996, Sennheiser received an Emmy Award for its advancements in RF wireless technology.[10] Also in 1996, Sennheiser became a private limited company (GmbH and Co. KG). Since then, Sennheiser has maintained its tradition of high quality audio technology, and still maintains those high standards today. Professor Dr. Fritz Sennheiser died in 2010.

On July 1, 2013, Daniel Sennheiser and Andreas Sennheiser were promoted to the position of CEO responsible for Sennheiser electronic GmbH & Co. KG.[11]

In October 2013, Sennheiser received the prestigious Philo T. Farnsworth Award at the 65th Primetime Emmy®Engineering Awards in Hollywood.[12] In May 2014, Sennheiser founded a new competence center for innovative streaming solutions, Sennheiser Streaming Technology GmbH (SST).
Locations

Sennheiser is headquartered in the municipality of Wedemark, Germany (near Hannover). Its United States headquarters is located in Old Lyme, Connecticut. The company has factories in Wennebostel (Wedemark, near Hanover); Tullamore, Ireland (since 1990); and Albuquerque, New Mexico (since 2000). Sennheiser’s R&D facilities are located in Germany, Denmark, Switzerland, Singapore and San Francisco, California.
Products
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Sennheiser is mainly known for its consumer headphones and professional microphones. The most famous microphones by Sennheiser are the MKH 416 short shotgun, which came to be the Hollywood standard shotgun microphone, and the 816, similar in design with longer reach. Its also makes wireless microphones. Subsidiary products include aviation, multimedia and gaming headsets, micro-Hifi systems, conferencing systems, speakers and amplifiers.

Jon’s archive https://archive.org/details/JoeBergerNammOralHistoryInterviewUneditedLongVersionOfficial55

Youtube https://youtu.be/uFFMVHCkZ8w

Joe Berger NAMM Oral History Interview Unedited Long Version Official 55 minutes 4 seconds
by Jon Hammond

Usage Attribution-Noncommercial-No Derivative Works 3.0
Topics concert production, electric guitars, namm show, frankfurt musikmesse, joe berger, oral history, john entwistle, concert tours

Joe Berger
Interview Date: January 20, 2012
Job Title: Musician, Product Endorser – short version here also
http://www.namm.org/library/oral-history/joe-berger
Joe Berger knows sound! Joe has been mixing sound for over 30 years and he stopped counting at 35,000 bands! Also a virtuoso guitar player with his own definitive, unique playing style and “ear”, Joe has jammed with the likes of John Entwistle and Jack Bruce. He has also been a fixture at music trade shows for decades as a guitar demonstrator, having set a record for most hours played at a single trade show.
Tony Arambarri, Dan Del Fiorentino – NAMM Historians
Categories:
concert production
electric guitars
Guitars-Amps-Fretted
Jon Hammond
mixing consoles
Musicians
Musik Messe Frankfurt
NAMM Show
New York City NY
product endorsers

Run time 55 minutes 4 seconds
Audio/Visual sound

Jon’s archive https://archive.org/details/JonHammondsMusikmesseWarmUpPartyJazzkeller

Alpha Jon Hammondhttp://hammondcast.tumblr.com

Headphone, Funk Jazz, Side Camera, Jon Hammond #Headphones #JazzFunk #HammondOrgan