Miller with his Mackie D8B
Miller is a world-class musician in the truest sense
of the phrase. In his 28 years playing the guitar
he has studied and absorbed an eclectic range of musical
influences that anyone listening to Sting's more recent
albums will be familiar with.
mixing analog, he is currently enjoying the novelty of mixing his
first digital solo album on his new Mackie
d8b console from the comfort of his Thames-side apartment. "I've
got a couple of months to chill out and do my own thing," he
says, "then I'm recording again with Sting, with a new tour
penciled in for next Spring."
Mackie setup has allowed Dominic to transform his apartment
into a recording studio in seven minutes. That is all
it takes to unpack his gear and get ready to go - he's
timed it! "It's quite a simple set up," he
says. "An HHB CD burner, Lexicon reverb CM90 and
Roland keyboard - that's it."
in Buenos Aires and raised in Argentina and Wisconsin,
Dominic moved to London to study classical guitar at
The Guildhall School of Music under Sabastio Tapajos
before going on to prestigious Berkley College in Boston.
Guitar icons Jimi Hendrix and Jeff Beck, and jazz influences
took his playing down new roads before he ended up swinging
his axe with heavy metal band King Swamp.
New York in the late '80s, Dominic bought his all-time
favorite session guitar - a Fender Stratocaster. He
started doing session work and soon got a reputation
as a studio "wizard" by being able to play
anything. Among the many big names Dominic has worked
for are Luciano Pavarotti, The Pretenders, Bob Clearmountain,
Sheryl Crow, Peter Gabriel, Level 42 and Paul Young.
was introduced to producer Hugh Padgham on a session.
Hugh immediately recruited him to play on Phil Collins'
mega-seller album But Seriously. (It's Dominic
who plays the nylon-strung guitar on Another Day
in Paradise.) Then, in 1991, he auditioned for Sting
and got the gig to play on Sting's Soul Cages.
Ten Summoner's Tales followed, on which he co-wrote
the emotive Shape of My Heart.
still enjoys the challenge of session work, more
recently working with producer Steve Lipsom and
on boy bands' hits. But, it is not only his obvious
talents as a musician that have been recognized
by the industry - he also has a song-writing deal
with BMG Publishing writing for both unknown and
says: "I work better alone, rather than with
engineers all over the place - that's why I wanted
automation. The instrumental music I make is very
intimate and my set-up has allowed me the freedom
to make my music when and how I like."
is very much of the "old school"in his
approach, preferring the natural tempo of real
instruments to the precision tempo of sequencers.
However, he finds the digital console with its
recall system invaluable for capturing the musical
automation is fantastic and the best of its kind,"Dominic
claims. "The best thing about it is that it has put an
end to the 'chase the demo syndrome,' where you've done your
demo and you can never re-create it in the studio. With
the DB8, if you have done your demo and love everything about
it, you can recall it and fix any minor offending details."
found the transition from analog recording to
digital very easy. I was quite daunted at first
but I found the d8b actually did what I wanted
it to do. In fact the console is easier to use
than analog and I know Mackie is there online
if ever I need any technical support."
Miller at his home studio