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John Mohan's Daily Practice Routine Journal


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crzytptman
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PostPosted: Wed Jun 16, 2010 9:47 am    Post subject: Reply with quote

Quote:
I had been playing on a Reeves 43 Rim with a CG Personal Underpart. I've now changed the Underpart to my Bach 3B with a #22 throat and a Symphonic Backbore. I did this because I might be doing an audition with a Concert Band at the end of the month, and I want to blend well with others who probably tend to play Bach mouthpieces. Nothing gives me a nice orchestral sound as well as a Bach mouthpiece does.

Hey John, I'm enjoying your log. Would you mind describing the sound you get from the CGP in contrast to the "nice orchestral sound" of the Bach?
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crzytptman
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PostPosted: Fri Jun 18, 2010 6:38 pm    Post subject: Reply with quote

Hey, I thought this was a DAILY log?
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John Mohan
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PostPosted: Mon Jun 21, 2010 11:50 am    Post subject: Reply with quote

crzytptman wrote:
Hey, I thought this was a DAILY log?


The "Daily" refers to the practicing of the instrument, not the frequency of my posts here. If I were to devote my time to list my playing on a daily basis here, money would have to change hands, and a lot of it.

That said, I haven't added much here lately, have I?

Been quite busy, with finishing the semester, summer school, and family trips.

Here's a brief synapsis of the routine:

Over a period of months I built the routine up slowly while trying different mouthpieces (43C, 43B, 43rim/3cUnderpart, and 42C). Didn't like anything I was playing! Actually, played fine on all of them, but I had lost my range above G above High C. Thought it was the mouthpiece. It wasn't. I was just over-practicing! Spending time visiting my kids caused me to miss three days of practice in a row, and when I returned to it, my range to Double C was back! That told me something - I had built up my practice schedule too quickly.

I'm not going to post what I built it up to, as I did it too quickly, and I will be building back up again, but slower this time. So I'll post every two or three weeks as I build up.

My routine as of now:

1) Irons Groups 5, 5B, 6, 6B and 6C (the groups ending with letters are my own creation - I take the last exercises of Groups 5 and and 6 and extend it through all 7 valve positions - in the case of my "6C" I do the same, but start the exercise one harmonic higher).

2) Clarke #1 and Etude 1 KTM

3) Systematic Approach Lesson 2 Part 1

4) Systematic Approach Lesson 2 Part 2, followed by Part 3 of Lesson 3 to relax my lips.

That's all. On the one hand, I wish I hadn't had to go back as I was almost through with all the Clarke #1 models, but oh well. The goal is to progress and play better, not just get through the Clarke book...

You all might want to think about something: I am a seasoned player, that right here, right now, has the endurance to do a full broadway show (I know, because I run shows at home every week or two, and I've got enough endurance to play through them). Yet, I managed to get myself into an over-practice situation by simply adding an Irons group, and some KTM and multiple tonguing exercises every few weeks to my routine. I really didn't think I was drastically building up the routine. Yet, I found that when I didn't get to play for 3 days, problems that were creeping into my playing disappeared.

Reminds me of what Claude used to say to me, and what Clarke used to say to him:

"Build up, don't tear down."

Best wishes,

John Mohan
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John Mohan
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PostPosted: Mon Jun 21, 2010 11:53 am    Post subject: Reply with quote

crzytptman wrote:
Hey John, I'm enjoying your log. Would you mind describing the sound you get from the CGP in contrast to the "nice orchestral sound" of the Bach?


Here's a comparison of the 3B underpart, 43B and CG Personal underpart:

I find the CGP to sound darker in the middle to low registers than the 3B underpart, but brighter than the 3B above G on top the staff. To me and my wife, the 3B just sound more like an orchestral trumpet sound.

Since writing that bit about the 3B underpart, I've since switched back to the Reeves 43B/22Throat/Reeves #3 backbore setup for Orchestral style stuff because my wife describes the 43B underpart as having more of a ring to it and a clearer sound than the 3B Underpart. From behind the horn they sound very similar to me, with the 43B sounding perhaps brighter to me. But what I hear has little to do with what an audience would here. So as usual, as with all facets of life, I go with what my wife says... She likes the sound of the 3B best, so for orchestral stuff, that's what I am currently using. But my main mouthpiece is my 43C with #24 Throat and the stock Reeves #2 Backbore.

John


Last edited by John Mohan on Mon Jun 21, 2010 12:35 pm; edited 1 time in total
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crzytptman
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PostPosted: Mon Jun 21, 2010 12:35 pm    Post subject: Reply with quote

Thanks, John. If your wife's ears are anything like my wife's, you would do well to heed the advice!
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John Mohan
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PostPosted: Mon Jun 21, 2010 12:36 pm    Post subject: Reply with quote

Hi Nate,

I've changed what I posted earlier today, as I realized I was confusing my mouthpieces! The edited version up above is accurate. Currently I am practicing on my 43C.

Best wishes,

John
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John Mohan
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PostPosted: Mon Jun 21, 2010 12:38 pm    Post subject: Reply with quote

crzytptman wrote:
Thanks, John. If your wife's ears are anything like my wife's, you would do well to heed the advice!


Oh, it has nothing to do with her ears. It's more about her fists...

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Jim-Wilson
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PostPosted: Mon Jun 21, 2010 3:53 pm    Post subject: Reply with quote

John Mohan wrote:

Quote:

Oh, it has nothing to do with her ears. It's more about her fists...


Good one! I presume she knows to avoid your lips?
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crzytptman
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PostPosted: Mon Jun 21, 2010 6:31 pm    Post subject: Reply with quote

Quote:
Oh, it has nothing to do with her ears. It's more about her fists...

Big breath -chest up!
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David Roberts
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PostPosted: Mon Jun 21, 2010 7:37 pm    Post subject: Reply with quote

John Mohan wrote:
You all might want to think about something: I am a seasoned player, that right here, right now, has the endurance to do a full broadway show (I know, because I run shows at home every week or two, and I've got enough endurance to play through them). Yet, I managed to get myself into an over-practice situation by simply adding an Irons group, and some KTM and multiple tonguing exercises every few weeks to my routine. I really didn't think I was drastically building up the routine. Yet, I found that when I didn't get to play for 3 days, problems that were creeping into my playing disappeared.

Reminds me of what Claude used to say to me, and what Clarke used to say to him:

"Build up, don't tear down."John Mohan


If you're not paying attention, you just might miss these pearls of wisdom.

Thanks, John!!!
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asndy1982
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PostPosted: Tue Jun 22, 2010 6:13 pm    Post subject: Reply with quote

David Roberts wrote:
John Mohan wrote:
You all might want to think about something: I am a seasoned player, that right here, right now, has the endurance to do a full broadway show (I know, because I run shows at home every week or two, and I've got enough endurance to play through them). Yet, I managed to get myself into an over-practice situation by simply adding an Irons group, and some KTM and multiple tonguing exercises every few weeks to my routine. I really didn't think I was drastically building up the routine. Yet, I found that when I didn't get to play for 3 days, problems that were creeping into my playing disappeared.

Reminds me of what Claude used to say to me, and what Clarke used to say to him:

"Build up, don't tear down."John Mohan


If you're not paying attention, you just might miss these pearls of wisdom.

Thanks, John!!!


I have been thinking about this for sometime and sometime it feels like I am only as good as what I'm currently practicing. As much as we don't like to think about it, trumpet playing is a very physical endeavor. Heck, Claude Gordon wrote a book called Physical Approach to Elementary Brass Playing, didn't he?. He wrote somewhere that trumpet playing is a form of athletics and that you should train like an athlete. You might not be tearing down hour to hour, but you could be tearing down day to day or week to week. When I have been forced to take a day off after a strenuous practice I have always come back stronger and playing is effortless for me, which leads me to believe that you proper rest is as just as important as practice.
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John Mohan
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PostPosted: Thu Jun 24, 2010 8:31 am    Post subject: Reply with quote

Hi all,

I just wanted to check in to let you know that it's going SO good right now. Double C on Systematic every day, and I can clearly go higher, but I'm choosing not to, as the way I figure it, DHC is plenty high for now.

More importantly, everything feels so effortless. Maybe "effortless" is the wrong word, because of course, physical effort is required. A better description would be to say that my lips and face almost feel like they are just along for the ride. The air power is there and it's getting directed correctly by the tongue.

Even though I'm playing my 43C/24Throat/Reeves Standard #2 Backbore mouthpiece (which I consider to be fairly shallow and bright normally), my sound is nice and full - not too bright, or even harsh as I remember it being back when I was overpracticing.

Going "back to the beginning" of my daily routine was one of the best decisions I ever made. Sometimes less is truly more.

Best wishes,

John Mohan
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John Mohan
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PostPosted: Mon Jul 05, 2010 10:19 am    Post subject: Reply with quote

Several days ago I moved on to my next self-directed routine assignment. I started the previous one on June 17 and played the entire routine 14 out of 16 days (took one day completely off and played just the Irons and Clarke material on the one other day I didn't do the whole routine). So on July 3rd it was time to move on.

The new routine, which I've done twice now is:

1) Irons Groups 5, 5B, 6, 6B and 6C and 7 (the groups ending with letters are my own creation - I take the last exercises of Groups 5 and 6 and extend it through all 7 valve positions - in the case of my "6C" I do the same, but start the exercise one harmonic higher).

2) Clarke #1 and Etude 1 K-Tongued.

3) Daily Trumpet Routines Lesson 3 for one week, followed by Lesson 4 for one week.

4) Systematic Approach Lesson 10 Part 1.

5) Systematic Approach Lesson 2 Part 2 played in the manner of Part 2 of Lesson 9, but with just one octave on each arpeggio, followed by Part 3 of Lesson 3 to relax my lips.

This adds about 12 to 15 minutes of playing per day to the routine - not too much, but I am a little concerned. I'll rest a lot and if I start running into trouble, I'll eliminate the DTR material for now.

It's amazing how just adding a 1/4 hour of playing can change things. It's going well, but in particular, the added notes during the Systematic Approach Part 2 section really makes a difference (five notes repeated on the first note of each arpeggio, and the top note of each arpeggio repeated 5 times). I was able to get to the Double C on the first day I did the routine, but I fizzled out on the Double Bb the next day. It wasn't a matter of not being able to find the feel of the note, or of even running out of Airpower, I think. It felt like my face and embouchure muscles ran out of endurance from all the added notes in the routine. I have to realize this is a good thing. Now, this routine is working some muscles that weren't getting worked enough before with the easier version of the arpeggio exercise. I should mention that yesterday, when I couldn't get to the Double C, it was on July 4th, and being a holiday, I drove to our house on the South Side to do my routine, but compacted it a bit more than I normally would, as I wanted to get back to our Condo for our BBQ with our neighbors. I did the Irons material at the Condo, then drove the 40 minutes to the house and then only rested about 5 minutes between each of the rest of the parts of the routine, where as I normally try to take at least a half hour break between each part. We'll see how it goes today, when I spread things out more.

So in summary, the only down side of the new routine is I might not get to satisfy my ego by reaching the Double C each day (or maybe in a few days I'll have the strength to consistently reach it). But either way, the playing of the whole routine is just, so, easy - as it should be. K-Tonguing of the Clarke study is particularly satisfying, as I can do it cleanly and accurately, and when I reach the highest one I do (two exercises beyond what's written, so I'm doing the run from G# on top the staff to D above High C), though I stop there, I could easily go much higher, even though I'm K-Tonguing).

I've been doing all practicing on my Reeves 43C with a #24 Throat and the standard Reeves #2 backbore (a bit bigger than a standard Bach backbore). It's interesting to me how my tone has gotten a little less bright on this mouthpiece. I'm not sure if it's from just getting acclimated to it, or perhaps it's due to the consistency of practicing a good routine where I'm not overdoing it. In the past, I would reserve use of this mouthpiece to when I'm playing heavy-duty lead type stuff, such as 1st trumpet on "West Side Story" or rock type stuff such as "Grease". It always seemed too bright for anything else, and for most other playing I'd be using my 43B. But the way it sounds now, it's getting to the point where I might consider the 43C to be more of a "general-purpose" mouthpiece for me. Or maybe my old ears are just losing it...

Best wishes,

John Mohan
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acatrp61
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PostPosted: Sun Jul 11, 2010 9:57 pm    Post subject: Reply with quote

Greetings,

John, I am enjoying reading your progress reports. I have an interesting story to tell. Back in 2002 I was a "comeback player". After being on the road playing lead and jazz with different shows and cruiseships, in 2001 I put the horn down and got into the IT industry. I missed the "Life" so much I quit my job and got back on another ship. Of course my chops were not happening, so started doing the Systematic Approach book, as it had worked very well for me in the past. But, I was older, out of shape and quickly practiced myself into a hole where I could barely get a note out. I had demanding shows almost every night with lots of upper register work, and I just wasn´t ready for doing both. Somehow I heard of John and got his email address. I wrote to him, asking how I could play a demanding routine and still be able to play screaming parts at night for at least 2 shows and dance sets. John was very generous with his time and gave me the exact routine he is now using. After taking a week off of practicing, I began that routine and within 3 weeks, the guys in the band were telling me I sounded great and I was able to play strong Double A´s at the end of the night.
Flash forward to today, I am currently playing Flugelhorn jazz in 2 different hotels and then Lead trumpet in an all Cuban salsa band from Midnight to 5am, 6 nights a week. To say the lead book is crazy is an understatement! But the main point is that I am now doing that same routine, resting only on Saturday (Weekends I play from 7pm to 5am)
For those how may not realize how effective Claudes routines are, let me tell you from experience that it continues to give me security, strength, a huge sound, and I now feel as if I could stay "up there" all night. So John, here is my slight adaption of that routine you sent me so long ago:
45 min fast walk
10 min CG Breathing ( 5in etc) the hardest part continues to be keeping the chest up when all the air is gone!
Irons #4-5-6-7
I do these with the Metronome at 60 with one solid rep per key, resting frequently. You would be surprized how these exercises really work the entire system. I have now started doing #5 in cut time, going for more reps with a good sound. I am really concentrating on pushing ALL air out and more on #6 (as in the SA pt. 1 of every lesson)
Rest 10 min
Clark #1 KTM
The only change I have done here is a "spiderweb" of the order of notes (F#/F/G/E/Ab/Eb/A/D etc)
I am resting between 15 to 30 min and usually have my breakfast.
CG Daily Routines Lesson 2
I try to do these just like Irons, resting after the first set and then another.
Resting 10 min
SA Lesson #3 pt. 1
I have been able to get down to Double Pedal Gb. John´s comment about "visualizing blowing a candle out across the room" really helps lock in the concept of Claudes instructions. Believe me, the effectivness of working those blowing muscles like this really pays later that night when you have to play a long line ending in a G or Double A.
Per John instructions, I am currently resting 5 min before pt. 2
I then do a short warm down and rest before my marathon starts at night.
Bottom line: If you take the time to do these routines, and really concentrate on Claudes messages about tongue level and breathing, making sure you rest plenty during practice, they will give you an awesome amount of control, power, stamina, and if you stick with it, range.
Thanks Claude, and a huge thanks to John Mohan for your time and consideration in helping everyone on this forum.
Edward
Acapulco, Mexico
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BPL
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PostPosted: Tue Jul 13, 2010 2:20 pm    Post subject: Reply with quote

Thanks John and Ed for sharing this..

Brett
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John Mohan
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PostPosted: Thu Jul 15, 2010 9:43 am    Post subject: Reply with quote

crzytptman wrote:
Quote:
Oh, it has nothing to do with her ears. It's more about her fists...

Big breath -chest up!


Yes, but in her case, I think she's paid too much attention to Claude's other mantra, "Hit It Hard and Wish It Well"...




And to Brett:

You're welcome!
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crzytptman
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PostPosted: Thu Jul 15, 2010 1:06 pm    Post subject: Reply with quote


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John Mohan
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PostPosted: Thu Jul 29, 2010 5:37 am    Post subject: Reply with quote

Well, it's been awhile and now I've moved on to the next installment of my daily routine. I added Irons Group 8 to the routine, I've moved on to Double Tonguing Clarke #1 and the Etude, and moved on with Systematic and DTR as well. Here's the routine I'll do for the next few weeks:

1) Irons Groups 5, 5B, 6, 6B and 6C, 7 and 8 (the groups ending with letters are my own creation - I take the last exercises of Groups 5 and 6 and extend it through all 7 valve positions - in the case of my "6C" I do the same, but start the exercise one harmonic higher).

2) Clarke #1 and Etude 1 Double-Tongued.

3) Systematic Approach Lesson 3 Part 1.

4) Systematic Approach Lesson 4 Part 2 but played with only one octave arpeggios (instead of two octaves as originally written), followed by Part 3 of Lesson 3 to relax my lips.

Minimum One Hour Rest

5) Daily Trumpet Routines Lesson 5.

Note that I am not following the SA exercises as outlined in the book - these modifications I am doing are how Claude assigned the material to me back in January 1979 when I had my first Crash Course with him (a Crash Course is something a lot of you should be considering taking with me - you'll learn a lot more and quicker that way than by just reading about it on the Internet).

Also, I'm now putting DTR to the end of the routine, because again, that's how Claude had me doing it back in the day.

Lastly, I've jumped mouthpieces again a little bit. About a week ago I went back to the Bach 3C Underpart on my Reeves 43 rim. This I did because I've had Jim New at Kanstul make me a Bach Mt. Vernon 3C clone with a #24 Throat, and I want to work my way to it (I figure my Elkhart 3C Underpart on the 43 Rim makes a nice "Bridge" between my stock 43C mouthpiece and a Bach Mt. Vernon 3C with its bigger cup diameter). The new Mt Vernon 3C will be arriving in the next week or so, so I want to start acclimating toward it. The reason for this change is because I want to go to the slightly larger cup size the MV3C offers and see how it goes. For the majority of my playing career I played on Bach 1-1/2C diameter mouthpieces (varying from a stock 1-1/2C cup to deeper and slightly shallower custom made versions for different music styles). Though the cup size seemed to work, the rim was always a bit narrow for my tastes. It's the comfort of the wider Reeves 43 rim I like the most about it. So I'm wondering: If I combine the almost 1-1/2C diameter of the Mt. Vernon 3C with the slightly wider rim of the Mt. Vernon 3C (compared to a 1-1/2C) will I finally find my "Mouthpiece Mecca"? Hey, Arturo Sandoval's been pretty happy with his 3C for the past 40 some-odd years... Maybe I'll be so lucky! Experience has also shown me that what Vincent Bach says in his Mouthpiece Manual is quite true:

Vincent Bach wrote:
Professional musicians and advanced
students prefer the musical results of
large mouthpieces, such as the Bach 1B,
1C, 1-1⁄4C, 1-1⁄2B, 1-1⁄2C, 2-1⁄2C, 3C, which
provide a maximum volume of tone with
the least amount of effort. By opening
up the lips so that they do not touch, the
larger mouthpiece produces a clearer,
purer tone. The large cup diameter also
allows a greater portion of the lip to
vibrate, producing a larger volume of
tone, and keeps a player from forcing
high tones by encouraging the correct
functioning of the lip muscles.


and:

Vincent Bach wrote:
The Cup: Diameter
We recommend that all brass
instrumentalists—professional artists,
beginners or advanced students; symphony,
concert or jazz band—use as large a cup
diameter as they can endure and a fairly
deep cup. A larger mouthpiece with a
fairly deep cup offers the advantages of
a natural, compact, and uniform high,
middle and low register, improved lip
control, greater flexibility, and avoidance
of missed tones. A larger-sized mouthpiece
will also offer greater comfort, making
it possible to secure a good tone quality
even when the lips are swollen from too
much playing.


I added the bold print to that last sentence because I've found it to be quite true (3 years playing up to 3 shows a day, 6 or 7 days a week in Circus Bands gave me plenty of experience with needing to produce pleasant sounds with swollen lips...).

I really, really, really plan to make this my last mouthpiece experiment - I'll give the Mt Vernon 3C a couple of months and if it doesn't do what I want it to do, I'm going to get back on that 43C and practice with nothing but it. (What I want is a bigger tone, the ability to play almost all kinds of music with one mouthpiece, and no problems with the feeling of "trying to fit my lips into the cup" when reaching the top levels of the Systematic Approach range material).

Best wishes,

John Mohan


Last edited by John Mohan on Thu Jul 29, 2010 12:13 pm; edited 1 time in total
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crzytptman
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PostPosted: Thu Jul 29, 2010 8:04 am    Post subject: Reply with quote

Hey John
I have 2 MtV 3c's I'm working with, and they are both slightly larger diameter than any 1-1/2C I have, including a slightly post MtV 1-1/2C vertical fraction. I've played 1-1/2Cs for quite a while, so it was an adjustment. I played Kanstul's BMV1-1/2C for a while, and it has a wider flatter rim than the Elkhart vintage pieces. What drill is Jim putting in your new piece?
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John Mohan
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PostPosted: Thu Jul 29, 2010 12:12 pm    Post subject: Reply with quote

A #24 Throat with the Standard Bach Backbore (I wrote "Backbore" where I meant to write "Throat" in my previous post). Will go and correct that now.

Best wishes,

John
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