His pocket is deep, his time feel impeccable, and his taste factor through the roof." GREG RULE Grammy Award Nominee

Wayne Proctor's approach to playing the drums is similar to that of the great lineage of players - Steve Jordan, Matt Chamberlain, Abe Laboriel Jr, Jeff Porcaro and Steve Gadd, guys who bring much more than just a great groove and touch, where you can feel the commitment to the songs they play in how the songs feel. In his 14 years as a professional musician, Wayne’s characterful groove and feel has seen him working with legendary producers to playing the likes of the Montreal Jazz Festival, Glastonbury, Hard Rock Calling, International television appearances and every gig in between.

Formative years were spent dedicated to drumming and intense study with Toni Cannelli of ‘Drummer’s Alliance and Francis Seriau of ‘Drumtech’

Having played on countless sessions, Wayne has worked with producers such as Brian Higgins,Mike Nielsen, James Earp, Steve Evans, Matt Butler.

Wayne has toured and recorded worldwide with Oli Brown, Alex Hepburn, Aynsley Lister, Jon Amor, Ian Parker, Scott Mckeon, King King, Nine Below Zero, Sherman Robertson, Wilson T King, The Davey Brothers, Mark Butcher, The Nimmo Brothers.

Alongside Interscope Record’s ‘The Davey Brothers’ Production team, (Joss Stone, Mick Jagger), he has also recorded a highly acclaimed drum loop CD called King Tone Grooves, which was released worldwide through AMG. Keyboard ‘Key Buy Award’ wrote “Who Is This Drummer? was my first question as I listened, mouth wide open.Talk about five-star stellar drumming.”

As well as his own recording and performing career, in recent years Wayne has turned to the role of producer. To date, his production credits include Oli Brown's 'Here I Am' Paul Riley's 'Alba Place', The Money, Everybody Be Cool, Ian Parker, Sefton, Sean Webster, Sam Wilkinson, Tantrum, Tom Wardle, UgLi, Djune, and Craig Johnston. His work with songwriter Craig Johnston assisted Craig to collaborate with legendary producer Mike Nielsen (Jamiroquai, Snow Patrol, Tom Baxter) with Wayne back on the drum stool. Wayne’s production work with the band Djune also secured them a prime slot at the renowned In The City Festival and support slots to Athlete, The Kooks, The Pigeon Detectives, The On Offs and Ocean Colour Scene.

Wayne proudly uses Ludwig Drums, is an official endorsee of Paiste Cymbals, Vic Firth Drumsticks, Hardcase Cases and Baskey Drum Products. Wayne has also recently been inducted into the Roll of Honor at his former drum school Drumtech.

Reviews of 'King Tone Grooves'

"Who is this drummer?" was my first question as I listened, mouth wide open, to the loops on King Tone Grooves. Talk about five-star stellar drumming. According to the liners, our man in question is Wayne Proctor. Not since hearing the likes of Purdie, Porcaro, and Gadd have I been so impressed with a groove-oriented drummer. His pocket is deep, his time feel impeccable, and his taste factor through the roof. The drum tones on this disc are fat and punchy, and mostly favor vintage tube warmth over digital transparency. At times the sounds are downright lo-fi, which I like. There's a nice variety, though.

Some loops are dry and tight, some are EQ'd and filtered, some have an angry distorted edge. Of all the great funk drum loops libraries in my collection, this one will now reside at the top of the pile. King Tone Grooves is that good." - GREG RULE, Keyboard Key Buy Award Review

"AMG's King Tone Grooves is the next best thing to hiring a professional drummer for an extended sampling session. Featuring more than 1,000 loops performed live in the studio by drummer Wayne Proctor, King Tone Grooves provides pristine, professionally recorded material with consistent performances and sound quality. Proctor delivers outstanding grooves that lean heavily toward funk and dance music, with a good dose of hard-hitting rock thrown in. Proctor has an excellent feel and a delicious-sounding kit with a loose, floppy bass drum and a bright, high-pitched snare. Proctor is an excellent drummer in his own right, with a great sound. All 73 minutes of material sound as though they were painstakingly produced over a single long session, one that would cost the average Joe or Jane several thousand dollars to duplicate." -

REMIX Magazine