In Hamburg by Stephanie Abts

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 | June 1998

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