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I just had to drop a note in here to say how amazed I am with the work Mojo does. I recently acquired a Mojo modified LT Guardala Studio from my great new friend Jon and I'm stunned by how amazing this piece plays. I've been around the block with pieces over the last 30 years of gigging in clubs and I can't say enough about how great this piece is. I took it out on a gig for the first time last night playing a mix of 70's and 80's pop and soul stuff on a 375xxx Super 20 Silversonic and the guys noticed that my sound was better immediately. It plays big, full, bright (but not thin) and a surprising amount of "body" and bottom for a fairly high baffled piece. I played the first set off mic and was able to hang in there just fine.

The only piece I've tried that even comes close is a Wanne Kali which is just great. To be fair I have never played an RPC or a Law buzzer but I've hit most of the others major players (Link, Dukoff, Berg, Lamberson, Lebayle - you get the idea). So again - hats off to Mojo for great mod work and to Theo for making a great line of pieces.
 

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Mojo did a Rousseau studio jazz piece for me and it is excellent. Im sure it is one of the best Rousseau pieces ever.
 

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I'm really glad to hear Rob is getting along so well with the LT/Mojo-ized Studio. Mojo has a very studious and methodical approach to working on mouthpieces, plus a great pair of hands. I played high baffle mpcs for years, mostly handmade Studio and/or Brecker models. Sure wish I had those pieces back now at the prices they're commanding, but I just can't play mpcs like that anymore. I went from my last handmade Studio to a couple of Freddie Gregories, the last of which was a Mark II, which I played for about a year. I finally got onto the new Barones and have been playing a Hollywood for the past year. So of course, you always have to go back and revisit something that worked once, right? I got that Studio Rob's playing now, my second LT Guardala, and also the second time I had the impression the LT version was basically just a pretty imitation of the handmade pieces. Knowing Mojo's done a lot of work on those mpcs and knows them about as well as anyone, he seemed to be the guy to send it to. We had an excellent email exchange discussing various approaches. The immediately apparent differences between the handmade Studios and the LTs is the handmade versions have more material scooped out of the sidewalls and chamber. The baffles seem a shade lower, too, but I'm going by eyeball here. I asked Mojo to do what he could to recreate the handmade Guardalas. He scooped material from the areas I pointed out, and then copied a facing curve from measurements he had of a handmade piece. When it came back, it played so much like the handmade pieces I owned it was downright freaky. Mojo did a superb job and included an itemized receipt detailing everything he did. It allowed me a good chance to review the whole reason I don't play mpcs like that anymore. After a few times hanging out with Rob and blowing different horn and mpc combinations, it worked out perfectly that Guardala was just his cup of tea.

I'm really glad to hear it's working out that well for you, Rob. I'm still digging the Barone NY in a big way, but I'm back to the Hollywood as my standby. I wish I could've hear you on your gig with that setup. I'll bet it was smokin!
 
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