*WATCH SUNDAY SESSION HERE: NAMM Show Sunday Blues Session
First time to NAMM Show – Suzuki Harmonica artist KOEI TANAKA from Tokyo Japan with JOE BERGER aka The Berger-Meister on guitar through Leslie G37 guitar combo amp, SWISS CHRIS getting down with custom Vic Firth drum sticks only on practice pad for low volume trade show performance
with JON HAMMOND at Sk1 Hammond combo organ and SCOTT MAY vocals resurrecting lyrics of Illinois band The Buckinghams (1967 release) http://en.wikipedia.org/wiki/The_Buckinghams for this classic bluesy funky tune having fun all together with Suzuki and Hammond first time combined stands full power! Special thanks to Suzuki Musical Instruments Team – Waichiro ‘Tachi’ Tachikawa, Mr. M. Terada, Shuji Suzuki, Shigeyuki Ohtaka, Yu Beniya, Hammond Suzuki USA Dennis Capiga, Scott May, Jay Valle, NAMM President Joe Lamond Jon’s flight case Gator GKPE-49-TSA http://www.namm.org/library/oral-history/jon-hammond HammondCast http://www.HammondCast.com
Music, #GatorCases #KoeiTanaka #Sk1 #HammondOrgan
by Jon Hammond
Topics namm 2012 sk1 organ drawbars mercy mercy funky bluesy koei tanaka suzuki musical #Chromaticharmonica
Trump has a ‘black soul’ – Khizr Khan , right on!! JH
HammondCast, KYOURADIO Dot Org, Funk Band, Jazz Music, #NDR #Payphone #HammondOrgan #MP3
Melody Without Name by Jon Hammond Band in Jon’s annual musikmesse Warm Up Party in the world famous Jazzkeller Frankfurt – Joe Berger guitar, Giovanni Totò Gulino drums, Peter Klohmann tenor saxophone, Jon Hammond at the Hammond Sk1 organ http://www.HammondCast.com Video: Tino Pavlis
Usage Attribution-Noncommercial-No Derivative Works 3.0
Topics Melody, Warm Up Party, jazzkeller, Frankfurt, Musikmesse, Hammond Organ, Jon Hammond Band
Hammond XK-5 aka Flexi-B Top Secret Organ Programmable Multi Contact Keys with MTW 1 Modeled Tone Wheel Generator
Hammond Flexi-B Top Secret Organ
with 9 contact keyboards! – Jon Hammond at musikmesse with Suzuki Musical Instruments Prototype Debut
Sony GCS-1 SuperBetaMovie Industrial Camera in the field with Jon Hammond – I wore out 3 of these cameras filming for my Public Access
TV Show The Jon Hammond Show on MCTV, MNN TV and now streaming – we are still on 34th year late Friday nights / early Saturday mornings
01:30 AM EST – 28 minute program, Music, Travel and Soft News
The camera was way ahead of it’s time! – Jon Hammond
John Entwistle of The Who with Jon Hammond and his Sony GCS-1 – John is playing one of his custom made Warwick Buzzard basses, pure ebony
Action-packed vintage clip from the long-running (24th year) NYC cable-access TV show “The Jon Hammond Show” has classic opening with Video by LORI, Eddie Money spot filmed the night he did David Letterman with Ronnie Spector “Take Me Home Tonight”. Also a spot for Joe Berger’s Impromptu Video Movie with voice-over by Jon Hammond featuring John Entwistle (RIP) of the WHO & Jack Bruce of CREAM. This spot was a noble attempt at marketing that went awry. Joe unfortunately got ripped off by the people who were supposed to run the ad nation-wide 1989, but we’ve got it for you here..enjoy! ©2007 http://www.HammondCast.com *BONUS: Kenny the Belly-flop Bridge Swan Diver..ouch!
Betamax Wiki https://en.wikipedia.org/wiki/Betamax
Betamax (also called Beta, and referred to as such in the logo) is a consumer-level analog videocassette magnetic tape recording format developed by Sony, released in Japan on May 10, 1975.  The first Betamax introduced in America was the LV-1901 console, which included a 19″ color monitor, and appeared in stores in early November, 1975. The cassettes contain .50 in (12.7 mm)-wide videotape in a design similar to the earlier, professional .75 in (19 mm) wide, U-matic format. The format is obsolete, having lost the videotape format war to VHS. Betamax recorders ceased production in 2002, but the format’s cassette tapes were available until March 2016, when Sony discontinued them.
Like the rival videotape format VHS (introduced in Japan by JVC in October 1976 and in the United States by RCA in August 1977), Betamax had no guard band and used azimuth recording to reduce crosstalk. According to Sony’s own history webpages, the name came from a double meaning: beta being the Japanese word used to describe the way signals were recorded onto the tape, and from the fact that when the tape ran through the transport, it looked like the Greek letter beta (β). The suffix -max, from the word “maximum”, was added to suggest greatness. In 1977, Sony came out with the first long play Betamax VCR, the SL-8200. This VCR had two recording speeds: normal, and the newer half speed. This provided two hours recording time on the L-500 Beta videocassette. The SL-8200 was to compete against the VHS VCRs which had 2 or 4 hours of recording time.
Sanyo marketed a version as Betacord, but this was also referred to casually as “Beta”. In addition to Sony and Sanyo, Beta-format video recorders were manufactured and sold by Toshiba, Pioneer, Murphy, Aiwa, and NEC. The Zenith Electronics Corporation and WEGA Corporations contracted with Sony to produce VCRs for their product lines. Department stores like Sears (in the United States and Canada) and Quelle (Germany) sold Beta-format VCRs under their house brands, as did the RadioShack chain of electronic stores. Betamax and VHS competed in a fierce format war, which saw VHS come out on top in most markets.
n early 1985, Sony would introduce a new feature, High Band or SuperBeta, by again shifting the Y carrier—this time by 800 kHz. This improved the bandwidth available to the Y sideband and increased the horizontal resolution from 240 to 290 lines on a regular-grade Betamax cassette. Since over-the-antenna and cable signals were only 300–330 lines resolution, SuperBeta could make a nearly identical copy of live television. However, the chroma resolution still remained relatively poor, limited to just under 0.4 MHz or approximately 30 lines resolution, whereas live broadcast chrominance resolution was over 100 lines. The heads were also narrowed to 29 μm to reduce crosstalk, with a narrower head gap to play back the higher carrier frequency at 5.6 MHz. Later, some models would feature further improvement, in the form of Beta-Is, a high band version of the Beta-I recording mode. There were some incompatibilities between the older Beta decks and SuperBeta, but most could play back a high band tape without major problems. SuperBeta decks had a switch to disable the SuperBeta mode for compatibility purposes. (SuperBeta was only marginally supported outside of Sony, as many licensees had already discontinued their Betamax line.)
In 1988, Sony would again push the envelope with ED Beta, or “Extended Definition” Betamax, capable of up to 500 lines of resolution, that equaled DVD quality (480 typical). In order to store the ~6.5 MHz-wide luma signal, with the peak frequency at 9.3 MHz, Sony used a metal formulation tape borrowed from the Betacam SP format (branded “ED-Metal”) and incorporated some improvements to the transport to reduce mechanically induced aberrations in the picture. Beta ED also featured a luminance carrier deviation of 2.5 MHz, as opposed to the 1.2 MHz used in SuperBeta, improving contrast with reduced luminance noise.
Sony introduced two ED decks and a camcorder in the late 1980s. The top end EDV-9500 (EDV-9300 in Canada) deck was a very capable editing deck, rivaling much more expensive U-Matic set-ups for its accuracy and features, but did not have commercial success due to lack of timecode and other pro features. Sony did market Beta ED to “semiprofessional” users, or “prosumers”. One complaint about the EDC-55 ED CAM was that it needed a lot of light (at least 25 lux), due to the use of two CCDs instead of the typical single-CCD imaging device. The Beta ED lineup only recorded in BII/BIII modes, with the ability to play back BI/BIs.
Despite the sharp decline in sales of Betamax recorders in the late 1980s and subsequent halt in production of new recorders by Sony in 2002, both Betamax and SuperBetamax are still being used by a small number of people. New cassettes are still available for purchase at online shops and used recorders are often found at flea markets, thrift stores or on Internet auction sites. Early format BetaCam cassettes—which are physically based on the Betamax cassette—continue to be available for use in the professional media.
Comparison with other video formats
Size comparison between a Betamax cassette (top) and a VHS cassette (bottom).
Below is a list of modern, digital-style resolutions (and traditional analog “TV lines per picture height” measurements) for various media. The list only includes popular formats. All values are approximate NTSC resolutions. For PAL systems, replace “480” with “576”. Note that listed resolution applies to luminance only, with chroma resolution usually halved in each dimension for digital formats, and significantly lower for analog formats.
Resolution based on the quality with a standard Kell factor of 0.7:
350×480 (250 lines per picture height): Umatic, Betamax, VHS, Video8
420×480 (300 lines per picture height): Super Betamax, Betacam (professional)
460×480 (330 lines per picture height): Analog Broadcast
590×480 (420 lines per picture height): LaserDisc, Super VHS, Hi8
700×480 (500 lines per picture height): Extended Definition Betamax
350×576 (250 lines per picture height): Umatic, Betamax, VHS, Video8
420×576 (300 lines per picture height): Super Betamax, Betacam (professional)
460×576 (330 lines per picture height): Analog Broadcast
590×576 (420 lines per picture height): LaserDisc, Super VHS, Hi8
700×576 (500 lines per picture height): Extended Definition Betamax
[not in citation given]
Digital formats Quality based on the resolution with a standard Kell factor of 0.7:
352×240 (240 lines per picture height): Video CD
480×480 (330 lines per picture height): SVCD
720×480 (504 lines per picture height): 4:3 DVD, Anamorphic Widescreen DVD, DV, miniDV, Digital8
720×360 (504 lines per picture height): Letterbox Widescreen DVD
1280×720 (896 lines per picture height): AVCHD-lite (720p)
1440×1080 (1080 lines per picture height): miniDV (high-def variant)
1920×1080 (1344 lines per picture height): (1080i/p) AVCHD, Blu-ray, HD DVD
Both NTSC and PAL/SECAM Betamax cassettes are physically identical (although the signals recorded on the tape are incompatible). However, as tape speeds differ between NTSC and PAL/SECAM, the playing time for any given cassette will vary accordingly between the systems. Other unusual lengths were produced from time to time, such as L-410.
For NTSC only, BI is standard speed, BII is 1/2 speed, BIII is 1/3 speed
Common tape lengths
Tape label Tape length Recording time
ft m BI BII BIII PAL/SECAM
L-125 125 38 15 min 30 min 45 min 32 min
L-165 166 2/3 51 20 min 40 min 60 min (1 h) 43 min
L-250 250 76 30 min 60 min (1 h) 90 min (1:30 h) 65 min (1:05 h)
L-370 375 114 45 min 90 min (1:30 h) 135 (2:15 h) 96 min (1:36 h)
L-500 500 152 60 min (1 h) 120 min (2 h) 180 min (3 h) 130 min (2:10 h)
L-750 750 229 90 min (1:30 h) 180 min (3 h) 270 min (4:30 h) 195 min (3:15 h)
L-830 833 1/3 254 100 min (1:40 h) 200 min (3:20 h) 300 min (5 h) 216 min (3:36 h)
Home movies 
Two-piece camera/VCR systems rapidly displaced Super 8 mm film as the medium of choice for shooting home movies and amateur films. These units included a portable VCR, which the videographer would carry by a shoulder strap, and a separate camera, which was connected to the VCR by a special cable. At this point, Beta had several advantages over VHS systems. The smaller Beta cassette made for smaller and lighter VCRs.
However, consumers wanted a one-piece solution. The first one-piece consumer camcorder, the Betamovie, came from Sony. A major requirement for a one-piece camcorder was miniaturizing the recording head drum, and Sony’s solution to this involved a nonstandard video signal which would become standard only when played back on full-sized VCRs. A side effect of this was that Beta camcorders were record-only: consumers saw this as a major limitation.
VHS manufacturers found a better solution to drum miniaturization (it involved four heads doing the work of two). Because it used standard video signals, VHS camcorders could review footage in the camcorder and copy to another VCR for editing. This shifted the home movie advantage dramatically away from Beta, and was a primary reason for the loss of Beta market share: owners of Beta VCRs found that a VHS camcorder would allow them to copy and edit footage to their Beta deck – something that Betamovie could not do. If rental movies were not available in Beta, they could rent them in VHS and use their camcorder to play them. Owners of VHS VCRs could also choose a variant camcorder format called VHS-C. This used a miniaturized cassette to make a camcorder smaller and lighter than any Betamovie.
Sony could not duplicate the functionality of VHS-C camcorders, and seeing the rapid loss of market share, eventually introduced the Video8 format. Their hope was that Video8 could replace both Beta and VHS for all uses. For more information, see the article on camcorders.
End of production
On November 10, 2015 Sony announced  that it would no longer be producing Betamax video cassettes. Production and sales ended March 2016 after nearly 41 years of continuous production.
Jon’s archive https://archive.org/details/6842260604
Hello New York! Jon Hammond Show 28 Minutes Preview 06/04 MNN TV – First segment: Jon Hammond’s annual musikmesse Warm Up Party in the world famous jazzkeller Frankfurt – LATE RENT Jon Hammond Theme Song – Jon Hammond Band: Peter Klohmann tenor, Giovanni Totò Gulino drums, Joe Berger guitar, Jon Hammond organ – Video: Tino Pavlis – Second segment: First playing of the Todd Anderson arrangement of “Lydia’s Tune” by Jon Hammond – Organist Jon Hammond composed this song in Paris France after flying there aboard Air France Concorde in year 1981, played here now with Meeting House Jazz Orchestra – #hammondcast Arranged and Conducted by tenor saxophonist Todd Anderson. Bob Rosen (tenor) presiding over the Music Program at Friends Seminary 230 year old school established on Manhattan’s East Side – David Zalud trumpet, Greg Ruvolo trumpet, Jim Piela saxophone, Pat Hall, Art Baron, Alfredo Marques trombones, (guitar solo): David Acker guitar, Mike Campenni drums, Charles Lee alto, more names coming! Thank you for playing my song and those listening and watching this Podcast folks! Jon Hammond ©JON HAMMOND International ASCAP http://www.HammondCast.com/
TV Producers of Manhattan Neighborhood Network [MNN] – Manhattan Neighborhood Network – Associated Musicians of Greater New York, Local 802 AFM of Greater New York, Local 802 AFM AFM Local 6 PROFILE http://afm6.org/member-profile/jon-hammond-wheres-the-gig/ — with Alfredo Marques, Bob Rosen, Greg Ruvolo, Todd Anderson, Mike Campenni, Art Baron, David Acker, Charles Lee and AFM Local 6 at Friends Seminary.
3rd segment: Jon Hammond Band – Czechoslovakian Salsa Song by Jon Hammond (organ) Video Tino Pavlis
Best Party of The Year! Jon Hammond’s annual musikmesse Warm Up Party in Jazzkeller Tuesday April 5th 2016 celebrating 30 years
Jon Hammond – organ Joe Berger – guitar Peter Klohmann – saxophone Giovanni Totò Gulino – drums Mr. Hammond has toured worldwide since 1991 using the incredible Sk1 organ by Hammond Suzuki..™ “Classic Hammond Sound…In A Suitcase!” The Jon Hammond Show is a funky swinging instrumental revue, featuring top international soloists. The show has universal appeal. Big Hammond orgel sound – 100% organic
©JON HAMMOND International – JJ Guitars Suzuki Musical Instruments
4th segment: As Seen On MNN TV The Jon Hammond Show – Filmed in High Definition – Pocket Funk with NDR Horns – Jon Hammond Band special Auster Jazz Series – musical director Michael Leuschner trumpet, Lutz Büchner tenor saxophone, Ernst-Friedrich Fiete Felsch alto saxophone, Funky Heinz Lichius drums feature on this one, Joe Berger guitar, Jon Hammond organ + bass http://www.HammondCast.com/ special thanks dankeschön to Knut Simon and Lukas Aaron Hambrecht AutoBild Redaktion Team for bringing the Borgward, Nicolai Ditsch for operating the camera (also a fine drummer) and all the Hamburg people who came to this party session, Auster Bar Team Frank Blume & Torsten Wendt – support from Musik Rotthoff, Joe Berger is playing Futhark Guitars, Jon Hammond the Sk1 Hammond manufactured by Suzuki Musical Instruments – Auster Bar Hamburg Eimsbüttel #hammondcast
Producer Jon Hammond
Sunday Session, Blues, Jazz, #NAMMShow #Musikmesse #Sk1 #HammondOrgan