BIO
Nicky Moroch comes from a musical family and has had a guitar in his hands ever since he could hold one. He actually learned to read music before he could read a book! He joined Return To Forever drummer Lenny White's band at age 20 and started a career as a first call session guitarist soon after. A true musical chameleon, he appears on countless recordings, TV shows and soundtracks, as well as live performances with artists as varied as David Bowie, Vanessa Williams, Madonna, Luther Vandross, Elton John, Lady Gaga, Keith Urban, Jessica Simpson, Wynonna Judd, Chaka Khan, David Sanborn, Bob James, Stanley Clarke, Bill Evans and Roger Glover of Deep Purple. He toured with sax legend David Sanborn for over 20 years, continues his studio work and can sometimes be found playing out with his group, The Sideguys, among others. A solo project is also in the works.
Nicky uses a Nobels ODR-1, a Bantamp XL Jackman II, and a Valeton Dapper Mini.
Learn more about Nicky at
www.nickymoroch.com Welcome aboard, Nicky!
Exclusive Interview: Nicky Moroch
What are you working on now?
I'm currently finishing up a project I'm producing and playing on for The Applestones, an extremely cool band from the Bay Area. 'Great songwriting - A bit quirky at times - Trippy Pink Floyd to Bob Wills western swing and everything in between. Also, a lot of projects with producer Nick Littlemore including an Elton John/PNAU collaboration that will hopefully be released soon. And as always, the various sessions that pop up here and there.
What is your musical background and influences?
I come from a family of musicians so it was music from the "get go". My dad played guitar, a bunch of other instruments as well, my mom played steel guitar and my brother plays drums, bass, guitar and keys. I learned my first few chords by watching my dad play when I was 3 or 4 years old and I started formal lessons at 5. I could actually read music before I could read a book and that has been invaluable in the session world. Other than my dad my early influences were The Ventures, Chet Atkins, The Beatles, Hendrix and the Brits, Jerry Reed, Wes Montgomery, Pat Martino ... I'd say I've been influenced by pretty much everyone a bit. Musicians all have something cool to offer no matter how minute, bizarre or trivial it might seem. And I definitely owe my versatility to the family band - We played EVERYTHING!
What is the role of education in music?
My formal training was definitely a plus but there was also a lot of wearing out records. Videos, DVDs and YouTube didn't exist so you really had to use your ears - You couldn't just watch someone show you exactly how to do it. And it's beyond pathetic that the first programs to get the boot in the schools were music and art. I think we'd have a lot more kids creating some great stuff instead of playing around on their phones.
How do you feel about the current ‘state of the music industry’?
The music business has certainly changed and as with everything there are upsides and downsides. You no longer need a record company to get your stuff out there and be heard. The way music is recorded, delivered and listened to has changed - Although vinyl and even cassettes are making a comeback. Growing up, I couldn't wait to get an album and read all of the liner notes and credits. Now people might not even know who the musicians are - Credits don't just pop up when you download a tune. And we were always saving up for the best audio system we could afford. The sound quality isn't the biggest concern nowadays - It's how many compressed tunes can I fit on my phone. It's pretty eye opening when someone who's used to mp3s hears some vinyl on a great system - Night and day! And I definitely miss tracking live with other musicians in the room. There's just a vibe you get bouncing ideas off of each other that really shows in a finished track. Today it's pretty much one at a time at the producer's home studio or emailing your parts from your home studio. There are exceptions where we get to track together in a beautiful state-of-the-art facility but those are few and far between these days.
Why do you play Nobels and JOYO Bantamps?
I've been using the Nobels ODR pedals since they first came out in 1993, even before the Nashville crew caught on, and they have remained my go to ever since. I've got quite the collection! I also purchased a Valeton Dapper Mini when they first came out (one of those how good could it possibly be for the price moments) and EVERYONE should own one. I initially got it as a backup, it fits in a gig bag pocket and there have been times where I've used it exclusively. And with a Nobels in front of it you have a killer extra OD voice. The drives, chorus and delay all sound great, the tuner works great - No brainer. In fact, when I first got mine and used it on tour, players were taking photos of it so they could remember what it was and grab one for themselves! And I've been playing around with the Joyo BanTamP amplifiers recently. A friend of mine has a couple and he's been pretty impressed. Technology is a wonderful thing. Don't get me wrong - I love all of my vintage gear and will always cherish it. But you can get yourself some killer tone and make some great music for not a lot of $ in 2024.
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