Been a pro drummer for 35 years, studio, live, theatre. Officially endorsed by Evans Heads & Promark Sticks
I first sat behind a kit at the age of eight after my father, an enthusiastic hobby drummer, brought home a mongrel kit from one of his work band rehearsals. For me it was an epiphany. I began studying with the revered Hampshire drum tutor, Albert Cooper, cutting my teeth with his first band at the age of thirteen, playing with musicians ten years my senior. Inspired greatly by the incredible RAOC drummer, Ray Smith, whom he met through his brother in law, by eighteen Ian was earning my living on the cruise ships. This enabled me to network and develop many contacts, so that after two years, I was able to move into session work for theatre, radio and television. Depping at short notice and my ability to play unknown material as if I were the regular drummer became the reputation I was known for. I also studied for a time with the UK's foremost tutor and Mapex artist, Bob Armstrong. By my mid twenties, I lucky enough to be in demand for my musical approach to the kit and natural, technical control which allowed my emotional playing to come through.
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Credits
Interview with Ian Backhouse
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: The Elvis Tribute Show mentioned in the 'What are you working on at the moment' section. I'm proud to be working with musicians that I've played with so many times in the past, and we have all come together purely by luck on this project. They're all superb pros. And Danny is a brilliant Elvis - close your eyes and you'd think it was The King. the show is so full of energy and fun, it's sheer joy to play it -and it's so much fun to be playing in the style of the great Ron Tutt - lots of freedom and trash-can endings! Lol!
Q: What are you working on at the moment?
A: I'm currently touring with a fantastic Elvis Tribute Show, with the brilliant Danny Graceland who is an award winning Elvis impersonator. It's a full on, energy filled show! I'm also about to begin work with a Miley Cyrus tribute act, that looks to be another very professional project.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: I'll have a look! :)
Q: Analog or digital and why?
A: Either - depends entirely on the project at hand
Q: What's your 'promise' to your clients?
A: Professional results and unparalleled attention to details and customer service
Q: What do you like most about your job?
A: The fact I am earning a living from playing an instrument I love. I'm very lucky.
Q: What questions do customers most commonly ask you? What's your answer?
A: There isn't one. Clients come up with all sorts of different questions depending upon their personality and musical needs.
Q: What's the biggest misconception about what you do?
A: That drumming is easy! People have no idea.
Q: What questions do you ask prospective clients?
A: I ask questions that will get me right under the skin of the project so I know exactly the kind of musical vision the client has so that I can produce the work they are looking for as close to that as possible.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Look at the length of time they have been playing and the kind of work they have done - look for those with a wide experience across the musical board
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: practice pad, sticks, snare, hit and kick
Q: What was your career path? How long have you been doing this?
A: Much like many jobbing musicals - lessons from age 8, local bands from age 14, function bands from age 16, cruise ships scene from 18-24, as well as teaching, then mainly as a result of contacts made during the cruise ship circuit, theatre, session work, depping, touring.
Q: How would you describe your style?
A: Melodic, tight, creative when needed.
Q: Which artist would you like to work with and why?
A: Any - as long as I'm playing great music, I'm happy.
Q: Can you share one music production tip?
A: Know when to stop adding to a track!
Q: What type of music do you usually work on?
A: I don't - there is no typical music - my work encompasses many different genres.
Q: What's your strongest skill?
A: Sitting in to any musical situation and melodic understanding, ie being able to play to songs I have not heard or do not know as if I am familiar with them. This just comes from so many years of playing. But along with this is my understanding of playing to serve the music - being an anchor for the rest of the band to reply on.
Q: What do you bring to a song?
A: This is fully explained in the 'Typical Work Process' section.
Q: What's your typical work process?
A: For live work, I obtain the set list as soon as possible, ensuing I am aware of any unusual versions of songs. I learn them by both listening to the track and making my own short hand notes for breaks, specific setups, lead ins etc. I then practice the tracks on the kit as often as possible before the gig. With 35 years depping experience behind me, I have an extensive song vocabulary, so already know many of the mainstream numbers required with function bands, pub/club bands etc. If it is theatre work, then the pad is often provided in advance, if only a little, and I read well, so this is never a problem. I always familiarise myself with the show as well, including sitting in with the current drummer if possible, or seeing a performance of the show, again, if time permits. With session recording, it's the same process pretty much as theatre work. With regard to remote drum recording, I obtain the track as soon as possible, and most importantly notes from the client as to what they are looking for in terms of style, musical approach, context, feel and so on. I then record several short clips with a variety of those, and present them to the client to chose the one most suited to their requirements. Then the final track(s) are recorded and sent to them. Any tweaks etc are discussed and re-recordings done if necessary.
Q: Tell us about your studio setup.
A: I have a Mapex Meridian birch kit, 10,12,13,16 toms, 22 kick, various snares for different live and recording situations. I use a wide variety of Zildjian cymbals, again, to cover different musical situations. I use a Mac with Garageband to mix drum tracks, using Sennheiser e600 series mics.
Q: What other musicians or music production professionals inspire you?
A: Drummers such as Stewart Copland, Dave Weckl, Dave Grohl, Buddy Rich, Graham Ward, Guitarists such as Eric Clapton, Jeff Beck, Brian May, David Gilmore, Lee Ritenour. Bassists such as Stanley Clarke, Leland Sklar, Mark King, Victor Wooten. I have a very eclectic musical taste that ranges from funk to folk, just about anything and everything.
Q: Describe the most common type of work you do for your clients.
A: 60% live work from depping to recording sessions, 40% remote drum tracks
