Nicky V

If you could take only one guitar to every session, which?

if somebody put a gun to my head and said “pick one to do it all” I would reach for a Tele or Paul over the 335.

How does he run his amp with overdrive pedals on sessions?

I’m usually operating at edge of breakup/ perceived clean then push it with overdrives. I don’t do a ton of overdrive stacking or anything…usually just pick the color I’m going for a commit.

Why does he lean on Fender-style amps more than a Vox?

This is pure opinion but a vox is a little more colored than a fender to my ears. It’s just a sound people are more familiar with and every front of house guy I’ve ever worked with typically has to work harder to get a vox to sit right in the front of house mix for some reason. I put voxs on records every day but usually use it as a secondary texture or if I need some cut in the mix.

How does a Les Paul sound different from an ES-335?

Les Paul is punchy and woody to my ears on the neck pickup...335 is a bit rounder. Bridge Pickup they are pretty similar...both can twang...both can rock...just a slightly different flavor thats hard to describe.

How does he tame the boomy low end of a Nobels ODR Mini?

Tele helps thin it out and putting the bass on the amp on 3. But yes usually it is. I have the mini on my main studio board and run it right before a GE-7 EQ to roll some low end out. On my secondary satellite board I have the gold 30th anniversary with the bass knob and it does the trick.

Which pickups does he use in his Telecaster?

I have a set of Kinmans in my other strat I use live and love them! For the tele, I ended up putting in some Dimarzio Area Ts and absolutely love them...tried all of the main go-to session guy pickups and the Area Hot T Bridge was the frontrunner by a mile for me.

How do you get a big cinematic rock ballad guitar tone?

Other than the obvious Overdrive, Verb and Delay...I think where people usually miss the mark is not pushing the mids. You need something to cut if you are doing to have that much wetness on the point of the note.

When does he reach for a Martin acoustic and when for a Gibson?

if I want big pristine filling the room sound that embodies the essence of the US Ill grab a Martin. If I want it to sound like a cool rock record or a vibey songwriter, or sad...I grab a Gibson.

Why does he steer players away from amp modelers?

A few reasons but the big one is most of the folks I know using them spend more time jacking with them than playing. And there’s a fizz in the top end with overdrive that usually doesn’t sit right in the mix.

Does he use a compressor pedal?

No compressor pedal. Getting enough from the amp usually and if I’m on a session and need it stylistically I’ll have the engineer run me through an 1176

Which picks does he use in the studio?

I use a bunch of different picks. Blue Chip on a lot of acoustic stuff. Also use Dunlop PrimeTones…poor man’s blue chip. Electric I use 1m nylons

On a budget: an amp with a gain channel, or an overdrive in front of a clean amp?

I like taking decent amps and pushing them to the edge of breakup and you usually don’t need as much as you think. It’s definitely easier and cheaper to put an overdrive infront of it though.

Are Murphy Lab guitars worth it?

For electrics I love the Murphy labs. The acoustic Murphy labs are all over the map.

I can't afford a Gibson J-45. What should I get?

The new banner Epiphone J-45s are great for the money

Old Martin and Gibson acoustics, or new?

New Martin is crazy consistent. Haven’t been impressed with new Gibson.

Should I sell my vintage guitar at a guitar show?

You would be better off just doing consignment at Carter, music city vintage or Gruhn

Do pros get passed over for playing cheaper gear like a Mexican Fender?

If the gear is breaking down on stage I think thats an issue but nobody cares if the fender is MIM or US. Mostly, if a pedalboard was cutting in and out and on a piece of plywood...thats just not going to cut it usually. Some artist are weird about gear and look on stage but most are cool or don't care. Some studios have a pretty extensive gear list you can use. Skill is number one, gear doesn't matter nearly as much as folks think.

How much better is a Custom Shop Tele than a standard Tele?

Overall a lot but sonically not as much. Quality of build, the fretboard on the custom ship is a great chunk of rosewood and feels better under the hand, fretwork is better, nitro finish. So it’s overall a better guitar but is it 17 times better as the price tag would suggest…nah.

J. Rockett The Dude V1 or V2: which version should you buy?

I would definitely go with V2 because of the quieter switching and more balanced volume knob. Tonally they were the same to my ear....but functionally the V2 is a little more fine tuned.

Which vintage guitars give the most for the money?

The ski slopes are definitely and issue. The best bang for the buck vintage guitars in my opinion are old Yamahas or if you can find an all mahogany Martin that’s player grade.

Do Nashville session players actually use Nashville Telecasters?

I think its a total marketing thing. Most of my colleagues have a few great teles that are just regular teles. Whats funny is most of them, Buk, Rob, Sol...are all running these saddles now as well.

Which affordable overdrive, fuzz and EQ pedals does he recommend?

Best cheap overdrive is the Nobels Mini by a mile, not sure on Fuzz but I use a JHS that’s around $100, boss GE-7 is my fav EQ…new ones are less noisey as well.

Is a Squier Tele a good platform for mods?

One of the best guitars you can buy for the money. Fretwork usually is bad. If you put a decent bridge pickup in a squire or mexican tele and take it to get fretwork then they are great.

Are vintage acoustic prices inflated, and how did he keep his cost down?

It’s all too high but unfortunately have to have it in my line of work. That’s why it’s player grade and 8k (got the guy that had it on consignment down to 7k) instead of 11-13k.

Are new Fender Teles good enough for session work?

Nothing wrong with new ones. Unpopular opinion but they are way more consistent than the ones I played here. My main Tele I session with everyday is a new custom shop.

What strings do you use?

On electric I use Elixir 10s on acoustic I use a few different brands but lately String Joy.

Which gauges on which acoustics?

On smaller bodied guitars I use 12s usually DAddario PB On dreads I use 12.5s either string joy or earthwoods

How low do you set your action?

I have a guitar in my hand 5-8 hours a day usually and run the action as low as I can to the point that its not past the threshold of coming through in a mix.

Why does the high E keep slipping off a Tele fretboard?

It could be a number of things but check the neck angle. Sometimes they can shift in the pocket to where there is less room on the High E side than the low E side. You can loosen the bolts a little, push the headstock up a bit or pop it with your palm…then tighten and see if that gives you some more clearance on the high E side.

How can you tell if the nut is making a Les Paul's G string go sharp?

Sometimes they just work out of the box. You would probably notice it if it was a problem but one way to check is to do a big bend on the g string…then if it goes sharp hit the string hard with the pick…if it then goes back in tune…there’s an issue with the nut.

With a capo on, which chord should you tune the guitar to?

The which chord to tune to is a fantastic question. I think its 100% context dependent. Sometimes I'm tuning to blend with the keys and need to make the 5 chord work depending on the vocal melody...sometimes I just need the 1 chord to be crazy in tune if that is more exposed in the song...sometimes its a very even split on the compromise when a 3rd becomes a 5th or root on the next chord change...sometimes one gets favored heavily over the other.

Why does he intonate the treble strings a few cents flat?

Its kind of splitting the difference between Just Tuning and Equal Temperment. It makes the 3rds ring a bit more in tune so the guitar is more in tune with itself but also blends in with other instruments in a mix.

What is the foam strip behind the nut on his guitars for?

It mutes the jangle/out of tune overtones you get when strumming. If you hit a G chord hard for example and mute it quick you can hear some ring out…the weatherstripping piece mutes that. Tape or a capo works as well

What usually causes a guitar to go out of tune?

If I had to lay out a hierarchy of tuning issues it would be. 1-operator error, 2-Nut, 3-Intonation set up, 4-environmental temp fluctuations, 5-string heating up.

How does he store his best acoustic guitars?

I have a little humidity reader in the studio and just try to keep them around 50%. In the winter I might run a humidifier if it gets really cold. Typically just have them out or in a closet piled up.

Does he keep guitars tuned down for awkward keys like Ab?

I keep a few tuned down and use them all the time. Also have an acoustic tuned down a whole step with mediums on it which comes in handy quite a bit.

How should the tailpiece be set when top-wrapping a Les Paul?

I definitely lower it all the way to the body to give me enough break angle and in theory I feel it would give you more sustain having contact with the top.

How do you get in the pocket?

I literally slept with a click in my ear in college for two years and subdivided my footsteps on the way to class like a weirdo.

What should every guitarist be able to play across the whole neck?

Off the top of my head. (and this applies to the entire neck, every position, every string set) -Major scales -Pentatonic scales -Triads -7th chords, maj, min, min7b5, dom7 -Extended 7th chords -major scales up and down each string -move diatonic chords (all seven) through each position of the caged system. (most people dont know the minor). -Modal interchange -command of rhythmic subdivision

Over which chords in C does an E minor pentatonic substitution work best?

It will work well over the 1maj chord, 3min chord, 5maj chord, and 6min chord. The others (2min, 4maj, 7dim) might be a little out there. For those three chords there’s another substitution you can use that I didn’t mention in the video which would be playing a Minor Pentatonic up a whole step from the tonic major. (Dmin pentatonic in the key of Cmaj).

How do you develop your own blues phrasing instead of stock licks?

The two big ones are going through different triplet and 16th note subdivision permutations then over time they start to naturally come out in your playing. The other thing is simply listening to players with great phrasing when you are going about your day (driving, cooking, working, etc) and that phrasing will start to sneak into your subconscious and eventually come out in your improvising.

Should you build speed with exercises or by slowing phrases down?

You cant learn to play fast without learning what it feels like to play fast. In other words if you are trying to do something at 120bpm. Start at 90, then 100, then 110, then 120 and if you cant do it at 120 go to 130 and struggle with it for five min. Then try 120 again and something happens where its easier a lot of the time.

What can cause hand or wrist pain from long practice sessions?

I went through severe wrist pain in college and it was all coming from tension in my back and shoulder. Went to every famous musician doctor and nobody could fix me or figure it out. Went to a jazz pianist instructor at my school (The Musicians Institute) and he cracked the code. It was tension in my upper arm, shoulder, and back even though I had a light touch. Also most people experiencing pain don’t realize they are holding their breath.

How do you stop improvised solos from sounding flat and predictable?

Huge question but if I had to hit the high points. Build vocabulary by putting yourself in musical situations outside of your comfort zone, this will teach you how to get more mileage out of the licks and phrases you already know. Sing melodies and work on ear training so you can audiate or hear a line before you play it. Focus on concepts that lead to creativity rather than licks.

How can you make your string bends land in tune?

practicing bending half steps and whole steps all over the fretboard so you can get a feel for the balancing act with different tensions. Play the note then bend up to it to check yourself. Or you can use a tuner to see if you are sharp or flat. Also practice on different guitars with different scale lengths

Why does he advise against practicing over backing tracks?

Because they typically are programmed drums and the nuance of feel and subdivision is lost, but most importantly it doesn’t teach players how to phrase because there is no vocal to slow them down, so the natural expansion and contraction of the human breath which is typically reflected in great lyrical playing is lost.

What should a complete beginner work on in the first year?

For the fist year just work on cowboys chords, transitioning between them, learn a few scales, learn to alternate pick them, learn your E and A string root bar chords (major, minor, and 7th), work on strumming and some fingerpicking. That should be solid for the first year.

How much of a practice session should be structured drills?

keep the regimented practice as short as possible 10-20min then spend the rest of your time being creative.

How do you EQ a guitar?

For acoustic, typically carve out 100-200hZ then add some top end sparkle if needed.

How does he prepare before recording guitar on a song?

I usually listen to a song twice before I start recording. First listen I place session markers, second, I chart it out. While I’m doing that I’m trying to hear what it’s going to sound like after I’m done with it…where I’m going to fill, what tones I’m going to use, where I’m going to play and importantly where I’m not going to play.

What should a songwriter bring to a producer before recording?

Best situation would be to walk in with your key and tempo solid (producer might move the tempo around a bit though), guitar or some harmonic instrument recorded, and a vocal. From there any references you have that are similar in style/vibe/instrumentation. And organized list of what you vision is for the song along with any specific details.

How are guitars layered on a typical Nashville tracking session?

Nashville is all about efficiency and has a slightly more flowy organic approach where we will track a left part top to bottom as the band goes down, then the drummer will grab percussion, acoustic will stack, bass will fix or punch, and electric will grab a “right pass”. Then there’s a nice wide stereo image that flows through the arrangement.

Why does compression in a home mix often go wrong?

Typically when you are having issues with compression in a mix it’s because there are EQ issues on the front end or mic placement wasn’t quite where it needed to be. Everything needs to have its own space carved out in the frequency spectrum almost surgically.

Does he prefer recording guitar through a miked amp or direct?

I prefer to use a mic when I can but there are no doubt some fantastic direct sounds out there that are incredibly convenient. I have an HX Stomp that I used when I was on the road as an audio interface with amp sims for hotel room recording. Worked great! But when I would get home and crank an amp into a 57 and Royer I realized the difference after I started stacking and dialing in the mix.

Where does he place a single mic on an acoustic guitar?

I don’t do anything too wild. If I’m micing in mono I will either go over the 12th fret but depending on the guitar will sometimes point it at the lower bout under the sound hole /under the 17th fret.

How does he record acoustic and vocals in a mostly untreated room?

Number one is mic proximity…makes a huge difference. Then I have sound panels behind all of the paintings. And probably 5-7 amps around the room and a few panels on the backs of doors. If a vocal gets a bit roomy if they are belting WAVES makes a good de reverb plugin

How do you get a stereo guitar sound in the studio?

To get a stereo sound with a mono jack it’s usually being split to two amps and has stereo effects running to those amps, goes into two mics then two channels on the mixer. I never run that set up though…everything I do is mono and I get stereo width from the layering

Do Nashville tracking sessions use amp modelers or real amps?

Everything I’ve worked on here in the last eight years has been cabinets with amps…in iso. Haven’t seen any IRs or direct rigs on tracking sessions yet.

What is the fastest way to learn a song?

Then try to memorize its harmonic structure. Then learn how to visualize how the parts relate to that underlying harmonic structure. Memorize the melodic elements and how they relate to the chords they are being played over. Then if you are trying to perform it...practice standing up walking around the house playing it and listen in the car so it becomes subconscious.

What tools help with learning a song's guitar parts by ear?

I just use the YouTube slowdowner if something is too quick for me to catch by ear. Now there’s all kinds of AI that can take a song and remove the guitar parts so you can learn the isolated parts and jam in the mix without them as well. Logic now has that feature on their most recent update

How can you remember all the parts of a song for a gig or session?

Use the lyric of the song to help cue you along. If you dial in on a certain word or phrase it can help cue your memory to nail a specific part coming up.

How does a Nashville number chart handle key changes and secondary dominants?

If it’s a modulation we simply write “mod” where it occurs then change our frame of mind to the new key still using numbers. For secondary dominants you still just write it’s number so if you are in C and there’s an E7 just write 37 (seven being smaller).

Why write Nashville numbers instead of chord names?

I know it’s weird at first but the intervallic approach I think far outweighs the letter system because people hear in distances rather than letters.

What helped him most when he first moved to Nashville?

The biggest advantage I had moving to town was having experience as a bandleader. Just being able to put teams together, chart, and manage details put me in a spot where artist trusted me. On session, leaders also get double scale and live usually get a little kickback. The other advantage was versatility when I got here.

How long does it take to become a full-time studio guitarist?

Recording full time for a living I honestly only know of two other guitar players in town that were doing it in their 20s. I’m sure there are more out there that just don’t know about but it seems most studio guys are 35 and up…probably because it takes 20ish years to develop that skill set.

How important is social media for getting music work today?

Unfortunately the industry is going remote for recording so I have to be very present on Instagram, FB, and YouTube. Now probably more than 50% of my income comes through the internet (not YouTube monetization but overdubs and remote projection). The rest is word of mouth around town.

What separates a strong player from a pro session guitarist?

I'd say the biggest trouble areas for young session guys is tuning and not filling up every section of a song. For the player that wants to get better, typically what separates them from an amazing player is their phrasing and lack of ability when it comes to generating more color in their playing. On the session side of it a lot of the greats just seem to have emaculate taste as well when it comes to tone, eq and note choice melodically.

Which sites work best for selling remote session work?

Fiverr has been great for me but I think sound better and airgigs are a bit more pro regarding the type of client and quality of projects that come across the board. Best tip I have is being an incredible communicator in as few words as possible so you can set and expectation for the client then exceed that expectation. Customer service, tone, pocket, feel, and the right part.

How do you become a session player?

For the skill set. 1-Feel 2-Timing 3-Tone 4-Personality For the getting in the scene. 1-Turn one contact into three and those three into nine. 2-Find the artist/client then hire the people you are wanting to work with…work attracts work. 3-Listen to the sideman chronicles on Spotify.

Do session players get writing credit for the parts they create?

Usually no. If it’s through the union you can see some mailbox money but most of what we do we never hear again or know what happened with the project. More like a work for hire situation.

How is AI affecting paid session work?

Demo work has been hit hard. Master scale unaffected. Custom projects, the work has increased because people hearing a robot version has given them the confidence to get it fully produced