Jon Hammond Funk Unit With Some Bad Hombres Specials On The Band in Nashville Tennessee Nissan NAMM Stage!

#WATCHMOVIE HERE: Jon Hammond Funk Unit With Some Bad Hombres Specials On The Band in Nashville Tennessee Nissan NAMM Stage!

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Some Serious Bad Hombres!:

Roland Barber – trombone, trumpet, sea shell
Cord Martin​ – tenor saxophone
Chuggy Carter​ – percussion
Louis Flip Winfield​ – drums
Lee Oskar​ – harmonica
Joe Berger​ – guitar
Jon Hammond​ – organ + bass

2PM EST Jon Hammond Funk Unit kicking it off on the Nissan Stage at Summer NAMM Show Nashville Music City Center​

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#badhombre vs #badhombres #Unbeleivable

Bad Hombre Joe Berger!

*photo courtesy CNN

Jon Hammond Funk Unit on Nissan Stage Nashville Music City Center Summer NAMM Show showcase:

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WALL OF LESLIE SPEAKER SOUND 2215 HIGH POWER 3300 WOOD VERSION 3300w Keyboard Products Super Leslie Jon Hammond

3 x LS-2215 Leslie’s with Hammond Sk1 Organ – Jon Hammond:

Leslie LS-2215 Info

Mono Solid State 200W RMS/300W Peak
Preamp Stereo mini mixer
Inputs 2x 1/4″ TR keyboard inputs, auto sensing between passive/active
2x 1/4″ TR instrument inputs, auto sensing between passive/active
2x 1/4″ TR auxiliary inputs
2x 1/4″ TRS effects return inputs
1x 1/4″ TRS effects return / power amp input
1x XLR mic input
1x 1/4″ mono mic input
Outputs 1x 1/4″ TRS stereo headphone output
2x 1/4″ TR outputs
2x XLR outputs, each with ground
2x 1/4″ TRS effect send outputs
1x 1/4″ TRS effect send / slave amp output (send only provides right channel audio out to slave amp for stereo)
Channels and Controls Instrument: Low, mid, high, volume
Keyboard: Low, mid, high, volume
Microphone: Low, mid, high, volume
Auxiliary: Volume
Phones: Volume
Master: Low, mid, high, volume
Tweeter 2x 4″ mid to high frequency drivers
Woofer 1x 15″ low frequency driver
2x bass ports, front and rear

My 1959 Hammond B3 organ with custom built Super Leslie Speaker by the late great Bill Beer of Keyboard Products – just to the right of the Leslie box & flight case is my well-traveled original Hammond XB-2 in the ‘weekend warrior case’, it was not lightweight and not designed for heavy travel – but with the help of lots of gaffer tape and stickers I went around the world with that organ numerous times – can’t beat the mighty B3, but it won’t fit in a taxi cab don’t ya’ know! – Jon Hammond *Note: It was a LONG weekend for the Weekend Warrior Case folks!:

Very Special Concert in Suzuki Hall, First Time Koei Tanaka Harmonica In Duo with Jon Hammond B3mk2 Organ and High Power Leslie model 3300W

and W stands for Wood! – Jon Hammond

Jon Hammond at the Hammond Organ with Manji Suzuki President Founder of Suzuki Musical Instruments Corp. LTD in Hamamatsu Japan

Jon’s archive

Suzuki Headquarters and factory concert special for President Founder Manji Suzuki with introduction by Waichiro ‘Tachi’ Tachikawa, Jon Hammond at the new B3mk2 organ with Koei Tanaka chromatic harmonica


Special Thanks Mr. H. Ono, Mr. M. Terada, Mr. S. Ohtaka, Mr. Y. Beniya, Tachi Tachikawa, President M. Suzuki and entire Suzuki Musical Instruments Team

Suzuki Musical Instruments, B3mk2 Organ, Tachi Tachikawa, Hamamatsu, Headquarters, Jon Hammond, Local 802 Musicians Union

Jon Hammond at the Hammond Organ – WALL OF LESLIE POWER and Stacked 122’s with B3 Organ

Wall of Sound, Leslie 2215, #LeslieSpeaker #HighPower #Hamamatsu #Suzuki #HammondOrgan #Musikmesse #NAMMShow

Jon’s archive

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Topics TAKA, Takamitsu Yashiro, Blue Groove Sessions, Harley Davidson, Fender Telecaster, Jon Hammond, HammondCast, Kamakura, Japan

TAKA Blue Groove Sessions on HammondCast KYOU Radio interview with Jon Hammond in Narita Japan. Guitarist producer and Harley Daivdson chopper from Kamakura




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

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

Parking lot of Sennheiser Headquarters in Wedemark Germany, Knut Benzner of NDR with 421 mic and Norbert Hilbich long-time Sennheiser man!

Jon Hammond using Sennheiser e855 evolution microphone on interview with Tommy Denander and Mathias Melo in Hollywood

Nashville Tennessee — Jon Hammond interviewing legendary Roy Clark with Sennheiser evolution e855 microphone

Jon’s archive

Roy Clark Television Interview with Jon Hammond just before Roy appeared on the American Eagle Awards in Nashville Tennessee during Summer NAMM Show – Roy Clark an American Living Legend and long-time member of The Grand Ole Opry and The Country Music Hall of Fame – Roy’s wiki

Roy Linwood Clark (born April 15, 1933) is an American country music musician and performer. He is best known for hosting Hee Haw, a nationally televised country variety show, from 1969 to 1992. Roy Clark has been an important and influential figure in country music, both as a performer and helping to popularize the genre.

Jon’s archive




Jon Hammond original composition “Train Song” performed at Jon’s annual musikmesse Warm Up Party in the world famousJazzkeller Frankfurt

– Jon Hammond Band: Giovanni Totò Gulino drums, Peter Klohmann tenor saxophone, Joe Berger guitar, Jon Hammond Sk1 Hammond organ – special thanks to Frank Poehl for operating the camera – ©JH INTL ASCAP Publishing JON HAMMOND International

Producer Jon Hammond
Language English

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Topics Train, Song, Hammond organ, Warm Up Party, Jon Hammond, jazzkeller, Frankfurt, Jazz, musikmesse, Peter Klohmann, Giovanni Totò Gulino, Joe Berger, ASCAP Composer

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Special Thanks Eugen Hahn jazzkeller

Get Back in The Groove composed by Jon Hammond ©JH INTL Jon Hammond International ASCAP

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Rare Footage from inside Jazz Kneipe Frankfurt!

I played 207 gigs in the famous JAZZ KNEIPE Frankfurt at Berlinerstr. 70 until Regina the boss finally closed the doors and moved to Spain a few years ago, usually in Duo, sometimes as Trio but more often than not as Solo. This was a special occasion because my bandmates from California came over so I had them on the gig with addition of Sgt. Al Wittig of U.S. Air Force on tenor, James Preston of Sons of Champlin band drums, Barry Finnerty gtr., myself Jon Hammond at XB-2 Hammond organ. This was a very special place frequented by all the musicians after there gigs. A 5 hour gig until wee hours of the morning, Live Music 7 days a week in rotation with musicians like Piano George, Izio Gross, Wilson de Oliveira and members of HR Bigband. Regina introduced me to Tony Lakatos the Hungarian tenor saxophonist who I play with still today. The club was not large but it had a great atmosphere and was always a safe place to hang out until as late as 5AM. Sadly the Jazz Kneipe is still shuttered there on Berlinerstr. directly behind the Frankfurter Hof Hotel. All musicians tip their hat when they pass by. There’s a lot of music in those walls!

Jon Hammond Band original composition “Head Phone” with Atilla Zoller (RIP) in the house that night. ©)JHIntl. Jon Hammond International

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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 – Jon Hammond
“Daniel and Andreas Sennheiser who run the blossoming Sennheiser company, an audio business based in Germany. (CHRISTIAN BURKERT)”
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

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Jon’s archive

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

Sennheiser HD 25-1

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

Jon’s archive




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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 | Oral History Interview Date: January 13, 2011 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

“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.

Sennheiser Wiki

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).

Sennheiser is headquartered in the municipality of Wedemark, Germany (near Hannover).

Jon’s archive




HammondCast 202 The Jon Hammond Show audio from Jon Hammond’s radio program special retrospective with audio from a recording he made while on the house band led by Lou Colombo at The Wychmere Harbor Club in Harwich Port Cape Cod MA in 1978. Jon made the recording with his Nakamichi 550 tape deck, it is a remarkable recording of the Lou Colombo Band which played nightly for luminaries such as Speaker of The House Tip O’Neill for all his private parties and the Kennedy Clan.

Visuals from Jon Hammond Show long-running cable access TV program in New York City personally shot by Mr. Hammond with Video by LORI special graphics and FX. Kick back and enjoy!
For full audio of HammondCast 202:
HammondCast 202 KYOU Radio special edition with part 2 of recording from Wychmere Harbor Club when Jon played B3 organ on the Lou Colombo Band, the house band at Wychmere Harbor Club in Harwich Port Cape Cod MA. First backing up a feature dance duo with cha cha and then Emily waltz, Saturday Night Fever followed by the chaser ‘California Here I Come’, then Summertime, Hello Dolly medley, Bossa nova medley Watch What Happens in to Wave and then a cooking “In The Mood” taking it home with Jon’s “Lydia’s Tune” and some of Sidewinder – ©JH INTL

Jon Hammond Show, Lou Colombo, Wychmere Harbor Club, B3 organ, Tip O’neill, Kennedy clan, cape cod, private club

Run time 14 minutes 58 seconds
Producer Jon Hammond
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by Jon Hammond

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Topics Jon Hammond Show, Lou Colombo, Wychmere Harbor Club, B3 organ, Tip O’neill, Kennedy clan, cape cod, private club

Folks, something told me I had better get on down to see my main man Lou Colombo last week

in Fort Myers FL, I played on Lou’s band for 2.5 years in Cape Cod at the Wychmere Harbor Club

and Thompson’s Clam Bar in Harwich Port MA. It was an important time of my life and career and

he was always very generous to me, kept me on my toes throwing tunes at me in all keys the music

never stopped once we hit.

I just saw Lou a few days ago in Fort Myers FL at the gig he was playing at his Daughter Sherri’s restaurant

and hub Marc Neeley – Roadhouse Cafe, he was at the top of his game, playing great as ever and looking like a

million dollars. I am deeply saddened to receive terrible tragic news this morning from Lou’s fine trombonist

Nelson E. Foucht that Lou was tragically killed last night just 4 blocks from Roadhouse Cafe coming home from the

gig. My deepest condolences to the Colombo Family, Lou’s Wife Noel, daughters Lori, Sherri, David all his 6 kids, extended

Family of friends and musicians. I am totally blown away, thankful that I had the opportunity to know him and play with

him nightly back in the 70’s and then to see and hear him again at the end of his life, thanks Lou!

Here are some photos from just a few days taken by my long-time great girlfriend Jennifer and myself at his gig,

R.I.P. Big Lou – Louis Colombo the greatest trumpet player bandleader baseball slugger and golfer ever!

I used to go with Lou to the golf course where he had the snack concession in Yarmouth just to watch him drive

balls in to outer space. I couldn’t believe how far and hard he could hit the ball. Lou would put on black

executioner gloves and hit the ball and it would disappear, just keep on sailing in to the sky like Lou’s spirit

must be now. His music and great memories will live on forever.


Jon Hammond – Member AFM Local 802 and Local 6 Musicians Union

*Note: Lou’s band the other night at Roadhouse Cafe were so great, I’m so sorry cats:

Nelson Foucht on trombone, F.L. “Woody” Brubaker piano and keyboard bass, Richard Iannuzzi drums and Gil DiBenedetto tenor saxophone and clarinet.

Jon Hammond and Lou Colombo

**Note: Lou Colombo and my neighbor Leo Ball (R.I.P.) also a fine trumpet player member of Local 802 were born on the same day in Brockton MA

*Note: Lou called me on my cell phone when I was at the airport just about to fly out of Tampa TPA Airport, he told me he really dug

my album that I had given him “NDR SESSIONS Projekt” my first record of mostly standards, it was inspired much by him actually. Lou

was talking about the horn players on it, Lutz Buechner and Joe “Jo” Gallardo, he really dug them and he told me we were going to do

something back up in the Cape for sure. I was very touched by his call and he had called me on my previous birthday last year, I got

all choked up when he told me that. Thanks a million Lou!

Jon Hammond

Lou Colombo and Jon Hammond – 02/23/2012

1978 Photo of Lou Colombo Band with Jon Hammond on B3 organ House Band at private club Wychmere Harbor Club in Harwich Port Cape Cod MA
L to R: Frank Shea drums, Lou Colombo trumpet, Jack Pena guitar, Jon Hammond B3 organ

Jon Hammond Funk Unit – some Bad Hombres folks!

Bad Hombres, Jon Hammond, Funk Unit, #FunkyJazz #cantwaitforSNL #HammondOrgan #NAMMShow #Musikmesse


About laterent

JON HAMMOND Instruments: Organ, Accordion, Piano, Guitar Attended: Berklee College of Music 1974, City College San Francisco Languages: English, German *Jon is currently Host of daily CBS radio program HammondCast on KYOU & KYCY 1550AM 7 days a week. *Performing in Hospitals, Nursing Homes & Prisons every month in addition to concerts world-wide. *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.
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