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Re: Erased Guitar

On Fri, 14 Jun 1996, Brendan Ryan wrote:

> > What is an "erased guitar" that is mentioned under the instruments that
> > Criss plays? I've never heard of it before.
> The Erased Guitar is a "Midi Synth Guitar" there are no strings on it- 
> hence the term "erased guitar". You wave your hands past the sensors and 
> press the notes on the designated keypad on the fretboard. The guitar is 
> plugged into a crazy rack with a million different sounds- none of which 
> sound like a guitar. If you listen very closely to "500up" you can hear 
> it in the background. If you can find an erased guitar, get it because 
> they are *very* rare. 
> Brendan.

i just came back from the NAMM summer showcase with sloan ... we were 
trying to wrangle up some new endorsements for the fall tour.  anyways, 
chris was bugging the guys at ART electronics to bring back the erased 
guitar, because his is a pretty early model that isn't compatible for the 
upgrades that he wants.  peavey electronics showed a little bit of 
interest in the sloan boys, and tried to sell them on this rad new tube 
emulator that they just released.  it's part of eddie van halen's 5150 
signature line, and boy oh boy, does it ever make that little mustang 
sing!  jay was gasping for air underneath that thick fog of digital 
bliss.  he modified his shitty old thinline telecaster with a couple of 
high gain active pevey special pick-ups, with a midi compatible hidden 
ever so slickly underneath the saddles (oh, jay, you scamp), and he's 
playing through this new rackmount head, so he's totally set up.  pat, 
however, is definately not a peavey man ("that shit looks like shit" he 
sez).  hemade a bee-line for the PRS booth (inspired by indie-cool icon 
mary timony, do doubt) and strapped on a prototype neck-through body 
design.  sweeeeeeeet!  never before has "loosens" sung so sweetly 
through the night air.  but amplification for pat was still a problem.  i 
suggested that he head over to the fine people at soldano's booth and 
check out some of their new stuff.  he liked the "blue voodoo" head a 
lot - it had that vintage tone he needs - but they were being fuckers 
about an endorsement deal.  pat was really pissed off, so we went to the 
on-site wet bar and got loaded.  he was getting surly with the guys from 
digitech, so i bolted before i got involved in any scene that was going 
to develop.  i hooked up with chris at the padulla booth, where chris was 
playing in an ode to jaco pastorius five man bass band.  he was slapping 
out on a six-string model made of jarrah wood from australia.  it's an 
endangered species of wood that's been used in indigenous ceremonies for 
thousands of years, but padulla has (thankfully) found some import 
loopholes to get it into the country to make instruments out of it.  
thank goodness for chris, becuase that extra hard wood really brings out 
the tone he wants for those searing "can't face up" bass lines.  andrew, 
meanwhile was in drum heaven.  after a disasterous encounter with pork 
pie percussion custom drums last year, he was looking for a brand name 
with a little more artist support.  the obvious choice would be dw drums, 
but andrew finds them to not have enough character for him.  the answer?  
monolith drums.  100% carbon fibre dreams do come true.  after he air 
drummed the solo to moby dick, the monolith guys were more than happy to 
outfit him.  we all met back in the parking lot at the end of the day, a 
little wiser, a little richer, a little happier, and in patrick's case, a 
little drunker.

your man at NAMM,