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The
following article appeared in a June 1998 issue of Guitarist magazine.
The Nylon
String King...
He's probably the most recognised sessioneer of the moment, and is
best known for singing the virtues of the nylon string. But how did he
get where he is?
The life of a sessioneer isn't easy. It's ultra competitive, difficult
to to get gigs, and then when you do, you can end up working with
stroppy producers and artists. Add to that the worry of job
insecurity, musical anonymity and the high expectations placed upon
you, it takes a special kind of character to break into this side of
the music business - not to mention someone with extreme talent and
unerring motivation, if they plan to achieve any kind of longevity in
the fickle world of music. But one player who fills all of the above
criteria in aces is Argentinean-born Dominic Miller, Sting's guitarist
of choice, and arguably the UK's most successful session player of the
moment.
Can
you remember when you began to play guitar?
When I was 11; my sister taught me how to play songs by The Stones,
The Beatles and also some Brazilian music. My father coached me from
quite an early age as well, then around 15, I started listening to
classical music such as Julian Bream and John Williams and really
enjoyed it. I went to Berklee in Boston for an eight week summer
course and learned a lot. I thought I was handy on the guitar, but
couldn't believe the technique these kids had! And the work ethic -
five hours a day practice - really opened my eyes. I took my grade
eight classical and went back to Brazil, because I needed to inject
some more 'oomph' in my music at that time. So I studied with
Satastian Tapajos, Brazil's leading classical player who plays bossa
nova properly: he combines total melodic structure and rhythmic parts
together, so they're one entity And that's very hard to do.
You're known widely as the bloke who plays nylon strings live. Are
there any specific reasons why you're still so attached to that type
of playing?
Well, that was what got me started. It wasn't until I was about 15
that I picked up an electric. So the nylon string is definitely my
main instrument. I can get so many sounds out of it, much more than
out of an electric.
The
nylon string work evolved partly due to guitar company Fernandes'
involvement. Tell me about that.
I needed a nylon stringer for the Sting gig, particularly on the more
traditional-sounding songs. So they made me one, there and then. I
love its crisp tone - makes the high-end sound great.
Going back to the beginning for a moment, when did you decide that you
wanted to become a full-time musician? Was it a conscious decision?
I turned pro at 16 after Berklee, and joined a working soul band. I
was so young, so they all looked after me. It was great, the playing
in those bands was incredible, so accurate. I returned to study at
Guildhall, but dropped out to work as a player in the pubs and clubs
in my second year. When I reached 21, I formed an acoustic duo, and we
did well on the arty scene, playing the Edinburgh fringe and so on.
But everything changed for me when I got married and my wife had a
baby. I had to get a paying gig and forget about changing the world
with my guitar, so I joined World Party playing the electric, after
joining an early Level 42 line-up. I was with Carl Wallinger's World
Party for 18 months and eventually got sacked and fell out with Carl,
but we're good friends again now.
What happened after you left World Party then?
I joined a band called King Swamp, who were signed with Virgin records
- a kind of Led Zeppelin/Doors rock thing. So I'd gone from classical
to pop to hard rock. At that stage, I was even wearing cowboy boots!
Then, I started to get noticed as a session player through the
producers I'd worked with. Hugh Padgham used me on Phil Collins'
album, 'But Seriously,' and then I also did a bit of playing for The
Pretenders as well.
Level 42, Phil Collins, The Pretenders: that's all pretty high profile
stuff. Presumably that's how you got the Sting gig?
Partly, but again, it was through producer Hugh Padgham. To be honest,
Sting wasn't an artist I was in awe of; I kind of liked The Police,
but hadn't enjoyed Sting's solo material as much. So I was confused
when I did the audition and he gave me the gig there and then. In fact
I still don't know why he did that. I had to make a decision, and I
made the decision to leave King Swamp. 'The Soul Cages' was the first
album I did, and eight years later I'm still doing the same gig!
What would you say your philosophy is as a guitarist?
I support and complement the lead line. I make a song sound good no
matter how much I like, or don't like it. I'll make myself like it,
then everyone is happy. I don't classify myself as a serious lead
player. Someone like Jeff Beck, now he's a serious lead player.
At
Guitarist, we receive a lot of letters asking about your solo album.
Where can you get it from?
The album's called 'First Touch' but it's more difficult to purchase
it in the UK.
Do
you have any essential advice to offer all the potential sessioneers
out there?
I'd say be serious about your instrument, and try to play every style.
Then you're at an audition, don't think about the artist's history -
simply trust your own instincts. If you get a gig on false pretences,
you'll be caught out. Oh, and plenty of practise!
Given all the experience you have, do you ever get nervous, or is that
something you've conquered?
No, I get nervous every day. You should never be blasé, as anything
can happen. One of my first opportunities was a session for Paul
Young. My plane was late, and I had no way of letting anyone know so I
finally ended up arriving nine hours late! As you can imagine, they
were extremely non-plussed about the situation. But it worked out okay
in the end.
Focus on the Miller Equipment
Dominic owns a wide range of guitars. "I have a 1961 Fender Strat,
all-original except for the nut, a 1973 Les Paul Deluxe for that
lovely round rhythm sound, then a 1963 Martin D16 acoustic steel
strung, which is fantastic for recording. Dls are great for live work,
but in the studio, it has to be the Martin, it's the real thing! I've
got a P Project Nylon guitar custom made by Fernandes, as I endorse
their guitars. I use that live, and on every nylon session.
"Recording at home, I use a Mackie 32 channel desk, Akai 12-track
analogue and an Akai hard disk system and Lexicon effects for the
reverb and compression. Live, I use a Trace Elliot and Mesa Boogie amp
set up. I change sounds all the time! But at the moment, it's Mesa
Boogie Mk III combo and 2x12 cabs.
So, that leaves us with one gear question: the pedals. "It's a First
volume pedal, a Crybaby wah, a DigiTech delay, a B0SS Chorus, a BOSS
Heavy Metal and a 8055 Compressor/ Sustain. I also use a BOSS phaser
an ADA flanger a tremolo pair for that Johnny Man-type sound and some
really 'out there' effects for lead. The order of effects is
important; I always put the compressor at the end."
And who wires Dominic's gear up? "Wob, the roadie. It's low tech, but
it sounds good. I do have racks as well with SPX 100s, but it doesn't
really work. You've got to remember that Jeff Beck can plug into any
amp with no effects and get his sound. Having said that, I play more
quietly than someone like Jeff, and there's a lot of pick dynamics, so
the compressor is really helpful live."
© Guitarist
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