@@designercaolho The old Camco single chain pedal with hardly any fine adjustment settings was perfect for what your getting at.Once you got used to the feel it was trusty as anything.New pedals can be too tempting to fiddle with em instead of happily stomping them.
@@devonscope6222 I agree. Modern djent bands have nothing on Meshuggah. A fundamental misunderstanding of their sound. They're on a league of their own.
He didn't. You can hear a lot of Vinnie Paul, Reinert, Sandoval and Hoglan in modern drumming as well. A lot of Vinnie Paul and Reinert can be heard here as well.
I remember when I first realized that most of Meshuggah’s stuff was actually in 4/4 time. Listen to Thomas Haake’s hands. His feet are going crazy with the double kicks but his hands are playing a very simple 4/4 beat with high hat and snare. Blew my mind at first.
Thomas changed the game in the metal scene during the 90,s for all us old school thrash drummers , we thought that , Lars , lambardo , Hoglan , Reinhardt , were the Pinnacle , until Thomas showed up , then the rest is history 🤔
Yes he did. But you must take into account Meshugga's cutting edge music. Their polymetric approach was not really done before in metal. Thomas was the one to do it, brilliantly I might add.
FBM has always stood out in Meshuggah's discography. They never made another song like this again. It's almost like a bizzaro world take on a song that would have been at home on "Master of Puppets".
It's amazing how much of the rest of the song comes naturally to the mind with just this drum track. I like to imagine the drums are what carry the 'melody' of a Meshuggah song, like how you can recognize the identity of a song just by someone humming out the main melody in solemn. Basically, you could recognize any Meshuggah song through just the drum track alone. Everyone truly is a percussionist in Meshuggah.
Wish you could hear all the crazy ghost notes on the actual album. When I first heard the individual tracks I was blown away by what I had no idea he was even doing.
One of my favorite tunes from them. Destroy. Erase. Improve. Is a killer album. Soul Burn felt like the heaviest thing on earth when I heard it as a kid.
What blows my mind is how simple the production is, yet altogether it just explodes. DEI will forever be the mix approach I try to ‘attain’ with my own work.
I think this is actually a different drum mix. I just got my hands on the nail the mix stems, and the raw tracks literally sound like this. it's spectacular.
@@Slamthulhu Agreed. But still, when you hear them in isolation you can’t fathom it’ll all combine to be the mammoth it is. Bergstrand was far ahead of his time, and the perfect companion to a like group of artists.
This feel is what Meshuggah is BADLY missing and has never even thought about bringing back for one song since Destroy Erase Improve. This up-tempo, extreme technical, bugged-out, panic feeling thrash beat that’s NOT just straight blast beats stuff on DEI is the pinnacle of their entire career for me. FBM, Transfixion and Vanished. I hope they someday make one more song like these.
It’s really interesting how big of a difference two kicks makes…and you don’t fully realize it til you hear them in solo like this. They’re *probably* panned dead center per usual practice…but the overheads still pick up this killer stereo image. Minor tuning variations make it cool, yes…but that little stereo wiggle is just 🤤
And yet he used programmed drums eventually anyway because unlike edgelords like you he understands that music is a boundless landscape of creativity and the technology presented to him allowed him to try new things, to where he then had to re-invent the wheel when it came time to perform it.
@@pyroprince90 his most forgettable music has been programmed. He literally invented programmed drums but time has shown that you can’t cheat reality. Humans can hear it.
This drum track is taken from the stems that Nail The Mix released of this song, the rest of the album haven't been released publically so it wont be possible
Прямо сейчас сижу в супе и думаю, что тарелки при частом ударе звучат не так, а они и в жизни могут звучать так, слово у них одинаковая атака. Добавил гитару и все стало на свои места
@@thecolouroutofspacee я и не думал иначе, Томас - пулемет, но когда ударку программируешь, тарелки могут вызвать паранойю при частой и сильной атаке, а на деле все как надо, и это видео тому подтверждение. Однако, живого барабанщика ничто не заменит
I made a shitty cover of this song and every other drum track on RU-vid was incorrect in some way, both having tempo and actual composition issues. I’ll have to remake a better cover now that this is uploaded. Thank you!
I mean, if you don't know how to set triggers up and have a shitty sounding module, then, yeah. But if you actually have a brain and know what you're doing, then you can get just as much of a groove out of a drum set with triggers as without. Sadly, in 2022, there's still people out there that aren't aware of this.
@@meandfriendstv Believe it or not, yes. Every trigger ever created is extremely dynamic. They are literally contact microphones. They send the drum hit timing and "volume" of the hit to the drum module. They've been doing that for a long, long, long long time. In actual fact, triggers are actually more dynamic than some microphones. And here's the killer part, the part acoustic drummers seem to want to ignore. When a person sets up a drum module for the "fixed velocity" where all the drum hits are the same volume, they're actually mimicking a technique that was pioneered in the 60s with acoustic drums, and perfected throughout the 70s, and in wide use by the mid 70s to the early 80s. Which is gating, compression, and limiting of the acoustic drum sound to make the volume of the individual hits more or less the same. Especially on kick drums. So when acoustic drummers call triggers 'cheating' I don't think they're aware that acoustic drums were the first "cheater" drums, and I don't think they're aware of what triggers are, how they work, or, that you can set up a drum module to have dynamic expression. As a matter of fact, I would not be surprised if the drum performance we are hearing now had sound sample support, or was a hybrid of microphones and drum module sounds on the snare and kick. Especially since by the early 90s, that practice was EXTREMELY common in metal performances.
Could be Mårten making a stupid face through the glass while Tomas was recording, cracking him up or something like that haha, wouldn't surprise me at all. Look at any of their old album diaries, they would all clown around constantly back then