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Catalinbread Tremolo 8 Pedal
In a past life, this project started as a pedal for our personal enjoyment; a digitized model of the Fender Showman’s "harmonic vibrato". The experiment was a resounding success, so we started experimenting with more LFOs and more tremolo styles. We really like the sound of tremolo splashing against a reverb like Magnatones or Vibro Champs and our previous work on the Topanga Burnside reflects this. At the same time, we are suckers for bigger ethereal reverbs so we decided to add some trem-specific reverb algorithms and a subtle tone control. After researching and implementing them to exhaustion, we discovered that not all LFOs are created equal and some are much more equal than others. A sawtooth LFO leads to wild reverse-esque sonic manipulation and a fluttery compressed sound when set low. A square wave with a duty cycle control ("on" time) leads to a thumping, stuttering reverb sound, so why not turbocharge the square wave to a few kilohertz and churn out some wacky sum and difference frequencies? In a completely different program, trem modulation with chorus floating on top sounded too good to leave out. When working on the Many Worlds we had so much fun with the envelope-controlled phase angle that we wanted something like that in here, so we crafted an envelope-controlled trem rate with adjustable sensitivity and attack/decay, leading to head-spinning effects when letting chords ring out or when cranking some touch-sensitive solos.
Charlie Worsham was just wrapping up some tracking down at Sony Studios in Nashville when PG’s John Bohlinger caught up with him for a look at what tools he packs for a recording gig. Worsham had with him some of his most treasured acoustics, electrics, mandolins, banjos, and more, plus a collection of primo picks for all applications. Check out the highlights below.
Brought to you by D’Addario.
Guitar So Nice, He Bought It Twice
This 1963 Martin D-28, gifted to him from his parents, was Worsham’s first serious vintage guitar. Around 12 years ago, he took it into a shop for a refret, and after a freak in-store accident left it in pieces, Worsham accepted a check for the guitar’s value, and walked away.
A while later, he noticed it hanging on the wall of the same store—reassembled and fit for service again. Worsham couldn’t help himself; he bought it back, making it “the guitar so nice, [he] acquired it twice.”
He runs it with D’Addario XS strings and likes bluegrass gauges: mediums for the E, A, and D strings, and lights for the G, B, and high E strings. It’s kitted out with an LR Baggs HiFi pickup. And the scratches around the soundhole and pickguard? Those came courtesy of John Osborne’s heavy picking hand.
Check, Please
Worsham reckons he’s probably played this treasured Gibson J-50 on more records than any other guitar he owns. After he took the check from the busted Martin D-28, he used it to buy this one.
Family Jewel
This Parker mando used to belong to John Osborne, Worsham’s former bandmate. Worsham was always borrowing this mandolin, so when Osborne decided to sell it, Worsham picked it up to keep it in the family.
Burkett from ’Bama
This mini Burkett was built by luthier James Burkett in Alabama. Its nut is equivalent to a capo on the third fret of a regular acoustic.
Tune in to the full video to see Worsham’s Ohm open-back banjo, P-90-equipped Gibson mandolin, an Osborne-owned Strat, and a super-special wedding-gift ES-335 from Vince Gill.
Tweed Fit for a Prince(ton)
Worsham took Tom Bukovac’s wisdom and got himself a Fender Princeton Reverb, which he still loves, and he runs it alongside a Nashville Amp Works clone of a golden-era tweed Fender Deluxe.
Charlie Worsham’s Pedalboard
At his feet, Worsham runs a pedalboard with a Sonic Research ST-300 tuner, Browne Amplification Protein, Mythos Mjolnir, Guyatone ST2, Electro-Harmonix Canyon, Neunaber Immerse, Strymon El Capistan, and Chase Bliss Warped Vinyl HiFi.
