The Magic Mushroom Model

  This one came out looking the best and sounding the strangest. I think it is because of the rubber surrounds and 

polymer coating on the speaker, which tends to steal some energy from the top end harmonics but only on the bottom 

strings and consequently it has a really round mellow rubbery bass but still has the great tops, which is not at all 

unpleasant, but of a very different in character from the rest I've made so far. I got most of the artwork and the poetry 

from a friends book `Psychedelic Illuminations' which is now out of print unfortunately. Well done Flloyd, Nina and 

Mango, come and collect your cut of the profit now it has sold!

  It also has some nice mexican folk art from national geographics and a sprinkling of High times, Cannabis culture 

and rolling stone mags. It was languishing in the Nimbin Happy High Herbs shop in Nimbin, bonking people on the 

head, trying to get noticed for probably two years and when I took it back to the shop after probably 3 months of 

having it at home it sold that very day it went back to the shop (for $550) and promptly left to start a new life in 

New Caledonia.

Bon.

 

Inevitably with the encouragment of a sale I decided on doing take two on the same theme for the nearly finished classical resonator, 

especially when the fractals episode in National Geographics emerged and I still had unused bits and pics from the first one that needed 

using...a stir of randoms and three (or was it four?) long nights and half a day later over the course of a month, this emerged as it's pre 

laquered finish. It isn't quite as hi-fi sounding as having the two speakers but still carries the classical sound well, better bottoms as 

expected from the larger cone but not as complex in the tops. It has a great sitar type sound on the bottom E string from a serendipitous 

nut 'problem' that I couldn't bear to fix because it sounded so good with the sitaring sound coming in slowly and later the softer you play. 

It is not as penetrating sounding as the steel strings and not quite as loud due to the lower string mass. The bridge was thinned a bit 

because it didn't need to be as strong and to see if that helped it bend, which it did, marginally. The extra piece of carbon between the 

bridge and tailpiece was in order to create more downward pressure on the bridge so the strings would stay in their slots when you get a 

bit carried away plucking hard. Where you pick relative to the bridge yields greater tone variation than usual which is also typically 

classical, so much rests with the strings. Nearly finished...