Drum Programming and Feel: Groove vs Grid for Players…

Machine time and human time

Fear Factory — The Machine Engine

The guitar picking pattern is composed first and the kick drum follows it, locked to a click — and the gaps in the riff exist because Cazares was trying to imitate a sampler, loop boundaries and all.

The lock, confirmed from both sides

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• Cazares states the causality outright: "Why can't the drummer's beat follow the guitar picking?" And the reason he thinks that way: "I think patterns, I think rhythms. I think drumbeats when I play guitar" — he originally wanted to be a drummer. The guitar is the rhythm section's lead voice, and the kick is the accompanist. That is the inverse of essentially every other band in these five guides.
• Burton C. Bell corroborates: "Dino writes the riffs, his style is a mechanical feeling and it's a feel that's for a style of drumming that he really started for Fear Factory."
• Herrera names it as the band's identity: "tightness between the rhythm and the kick drums" — and he said that during the era when Cazares wasn't even in the band, which tells you it had become structural rather than personal.
• The enabling mechanism is the click track. Cazares on what he auditions drummers for: "how they could groove and how mechanically they could play to the click track." Herrera on the work: "The reason I'm very tight and precise on all that stuff is I work on those parts so they stand out" — he rehearsed one transition in "Corporate Cloning" roughly forty times.
• Flag: the "machine gun" description is critics' and fans' shorthand. Neither Cazares nor Herrera uses that phrase in any interview I could find.

The palm mute is an imitation of a sampler — and this is the best detail in the guide

• In his own words: "I was trying to emulate a sampler… I developed this stop/start thing… I really developed a good technique with palm muting – stopping and starting with my palm, and creating a certain accent by just palm muting… I guess what people would call 'djent,' now." He was replicating the way Ministry and KMFDM looped samples — including the gaps between loops.
• That reframes the entire technique. The silences in a Fear Factory riff aren't rests in a musical phrase; they're the dead air at the end of a sample loop, performed by hand. Everything about the band follows from that.
• Correction: he is not a downstroke-only player. His technique is documented as fast alternate picking with palm-muted triplets and syncopated sixteenths; his own list is "down picking, triple picking, all different types of patterns."
• How he built the hand: at seventeen he wore wrist and ankle weights for about a year, and taped his joints with electrical tape for resistance while fretting.
• Pickups tell the same story as the rest of this guide: stock passives → active EMGs → Seymour Duncan Blackouts he co-designed → a 2014 signature "Blackout Retribution" set voiced with less output and more treble specifically for percussive attack.
• Tuning, unusually well documented — and it defies the assumption. Cazares says flatly he has "never played any drop tunings on any record." Everything is standard tuning transposed down. Six-string era (Soul of a New Machine, Demanufacture) went to B or A standard, which he found "too floppy." He adopted the seven-string right after recording Demanufacture, first appearing on Obsolete (1998) tuned to A, which forced Christian Olde Wolbers onto a five-string bass. Across the catalogue: seven-string in B, A or G standard; eight-string in F#, F or E standard. The 2026 album is predominantly eight-string in E standard.

Herrera, Bell, and the template everyone copied

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• Herrera used triggers, and the misconception is documented. Listeners speculated about a drum machine on Demanufacture; he used a click track for time and ddrum4 triggers on 20"×18" kicks for tone consistency, not to fabricate a performance. His kick approach is broken-up "stop go" patterns rather than straight flooring, trained around 200 BPM and topping out at 210–225.
• Wikipedia, citing critic Adam MacGregor, places the arrival of blast beats in commercially successful metal at "Fear Factory's album Demanufacture (1995) and Slipknot's album Iowa (2001)" — though the blast is a texture here, not the identifying technique.
• Herrera's verdict on the drum-machine album (The Industrialist, 2012, which he had no part in): "I didn't like it at all. I was really surprised that they used a drum machine… every time we did it, it came out really, really stale."
• Bell's clean/harsh split has a named source, and it's his own synthesis: "I started imitating Justin [Broadrick, of Godflesh], but instead of a moan it came out more like a melody kinda thing." No label or bandmate suggested it.
• And his framing of the harsh voice is worth stealing conceptually: "I'm not screaming; I'm vocalizing. Like a pastor or a preacher, he orates loudly and distinctly to his followers." Distinct, oratorical, projected — not guttural.
• Honest hedge on the metalcore claim: Fear Factory is routinely credited with originating the harsh-verse/clean-chorus template. Wikipedia's own Metalcore article doesn't mention them at all. What is citable and specific: Revolver's piece on Killswitch Engage's Alive or Just Breathing says KSE's "triumphant choruses" fused elements from "Nineties Roadrunner heavyweights like Fear Factory and Machine Head" — naming two of this guide's three bands as the joint source. Treat the influence as well-attested and the "originator" framing as loosely sourced.

Demanufacture, Fulber, and where the band is now

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• The production story is a genuine mess and worth knowing in detail. Recorded at Bearsville in Woodstock after abandoning Trax in Chicago; vocals finished in London. Colin Richardson was the engaged producer and his mix was rejected; Greg Reely was brought in "to save the album"; Rhys Fulber co-mixed. Cazares on the fight: "I was like, 'Fuck you, this is my sound!'" — resolved partly by borrowing a cabinet from Bad Brains' Dr. Know. The substantive objection: "the keyboards weren't in the forefront, and we wanted them loud."
• And the most extraordinary claim, from the band: "We discovered that Colin Richardson had erased all the drum tracks. All gone. That's why there are no toms on the record." Whatever happened, the absence of toms is a real, audible feature of one of metal's most influential drum sounds. Flag: accounts differ and I could not confirm a formal re-amping process — what's documented is a dispute over cabinet choice and mix balance.
• Rhys Fulber of Front Line Assembly is the industrial half of the band — keyboards, samples, programming and effects on Demanufacture, co-producer on Obsolete, producer on Digimortal, and back for Aggression Continuum and the 2026 record. Remanufacture – Cloning Technology (1997) reworked Demanufacture as a remix album with Fulber, Junkie XL and others.
• Where it stands, factually. Burton C. Bell left on 28 September 2020 after roughly thirty years, citing "a consistent series of dishonest representations and unfounded accusations from past and present band members"; his 2017-recorded vocals still appear on Aggression Continuum (2021). A long ownership dispute followed a 2011 fifty-fifty agreement — a 2015 judgment ordered Bell to pay $905,605.41, and Cazares subsequently acquired the remaining rights and describes himself as sole owner. Milo Silvestro was announced as vocalist in February 2023, chosen from over 300 auditions; Pete Webber (ex-Havok) joined on drums in May 2023. The eleventh album finished tracking in August 2025 with Damien Rainaud producing and Fulber on keys; the first single is due August 2026. No title announced yet.
• Side projects: Brujeria, Asesino, Divine Heresy, Roadrunner United, and a guest guitar credit on Nailbomb's Point Blank — Max Cavalera and Alex Newport's project, not his own. He's toured with Soulfly since August 2021.
• Tempo: algorithmic only, so treat as rough — "Demanufacture" reads around 96 BPM, "Replica" 112, "Powershifter" 106. The important nuance is that at 96 BPM subdivided into sixteenths you get roughly 6.4 picked notes per second, so the felt speed is far higher than the tempo. Songs run about 3:30–5:00.

Mastodon — The Tumble Engine

Drums as a lead voice, riffs in asymmetric groupings that lurch rather than resolve, and three lead singers trading inside a single song — nothing in this band stays put.

Brann Dailor, and the line that defines the merge

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• His stated favourite move is the exact inverse of Meshuggah's entire method: "One of my favorite things to do is play past beat 1." Meshuggah's long cycles exist in order to arrive at beat one. Dailor's instinct is to overshoot it. Merges 1 and 2 below are built entirely on that opposition.
• And he places himself in a specific lineage: "I consider myself in the Bill Ward camp of metal drumming as opposed to the Vinnie Paul side." Feel and orchestration over the welded pocket.
• His influences, in his own words: "For metal, the main guys would be Mikkey Dee, Dave Lombardo, and Nicko McBrain; for jazz, Elvin Jones, Tony Williams, and Billy Cobham; for prog, definitely Phil Collins and Bill Bruford." And: "Phil Collins is probably my favorite drummer… he moved really nicely around the kit, like water."
• Technique specifics: "I use paradiddles a lot, and I'm really into grace notes, which I got from Mikkey Dee." And on how he assembles fills: "I've done things like throw in a Neil Peart fill that I mixed with a Billy Cobham lick and then ended it with a Phil Collins roll."
• How he conceives of riffs: "I kind of see all the riffs cinematically. I'll hear a riff and it conjures some kind of cinematic vision in my brain." Flag: the ubiquitous "drums as a lead instrument rather than timekeeping" framing is critics' phrasing, well supported by his quotes but not a verbatim statement of his.

Three lead singers — the structural feature

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• Troy Sanders (bass), Brent Hinds (guitar) and Brann Dailor (drums) all sing lead. Bill Kelliher is the only member who doesn't. Sanders and Hinds split vocals from the start; Dailor joined the rotation on "Oblivion" (Crack the Skye, 2009).
• The documented division method is by section, and "Oblivion" is the template: Dailor sings the verses, Sanders the pre-chorus, Hinds the chorus. One song, three voices, three jobs.
• The origin is worth knowing because it was nearly vetoed. Dailor: "I don't know if I can even pull that off… it seems really hard so I never tried it" — he'd only ever cut guide vocals for the others. Producer Brendan O'Brien resisted, reportedly saying "the last thing I want to see on David Letterman is you guys come out and then all of a sudden the drummer is singing." Hinds made the call to keep Dailor's take.
• Dailor is clear-eyed about the cost: three vocalists "annoys people because they can't tell where the vocals are coming from."
• Other confirmed Dailor leads: "The Motherload" (2014, with Sanders on the refrain), "Show Yourself" (2017), "Pushing the Tides" (2021). He had to learn to sing and drum simultaneously live after the fact.
• Flag: there is no documented fixed policy for who sings what — no "whoever wrote it sings it" rule. It's decided case by case.

Hinds and Kelliher

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• Hinds started on banjo, and it's audible. He "learned his signature style of fast hybrid picking by emulating banjo fingerings on guitar" — pick plus middle, ring and pinky fingers. Vocabulary is minor pentatonic, natural minor and harmonic minor with hammer-ons, pull-offs and legato slides; he also plays slide, 12-string and acoustic. His own framing: "I don't really even practice the guitar; I play the guitar." And "I don't like getting too complicated or messing with something that works."
• Kelliher's riff method is specific and stealable: start with a simple power-chord figure in the tuning, then "add in dissonant licks… until he gets a riff that is catchy," using open strings around chords that are usually avoided or muted, sometimes bent slightly out of tune for a bell-like effect. He can spend up to five hours on one riff.
• Kelliher on the division: "Bill usually wants it that way. It makes my playing better because Bill focuses all his energy and efforts on writing solid, driving rhythm parts." And on why they never lock: "If I'm playing against him, we never play exactly the same because of our styles and natural timing."
• Both cite Thin Lizzy's dual-guitar harmonies as foundational — along with The Fucking Champs, Metallica and Boston. (Unlike the Carcass case in guide two, here the Thin Lizzy attribution is the band's own.)
• Note: the division wasn't absolute. On The Hunter (2011) Kelliher wrote significantly more than on the earlier records, where most riffs were Hinds's.

Meter, tuning, form, production

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• Honest finding: the meters are less exotic than the feel suggests. Theory databases put "Blood and Thunder" in plain 4/4 (D Phrygian) and "Capillarian Crest" in 4/4. The tumbling comes from odd-note groupings, syncopation and asymmetric riff lengths layered over a 4/4 pulse rather than from literally uncommon time signatures — though longer prog-suite material, especially on Crack the Skye, does shift meters within a piece. Flag: I could not find a band quote settling whether the asymmetry is calculated or purely felt; everything documented points at feel — "we don't sit around and talk about our feelings so much as we play the feelings."
• Tunings: the documented working set is D standard (D-G-C-F-A-D), drop C, and an "A standard" with the low string down to A. Kelliher confirms tuning to A on The Hunter tracks — "I tuned down to A, which gets a really great sound" — and drop A on Hushed and Grim: "It was my idea to drop a full step, to make things even lower!" Album-by-album breakdowns beyond that are tab-inferred.
• The elemental concept scheme was retroactive, not a founding plan: they used a fire symbol on Remission's artwork, came to perceive the record as that element after the fact, and then "sought out water" for Leviathan. Earth for Blood Mountain, aether for Crack the Skye. Worth knowing before you treat it as a master plan.
• Crack the Skye is named for Dailor's sister Skye, who died by suicide at fourteen. Dailor has said that being told you've lost someone that way "is enough to crack the sky." Guest vocalist Scott Kelly recorded the title track with her photograph present and consulted Dailor's father first.
• Producers, corrected: Matt Bayles on Remission, Leviathan and Blood Mountain; Brendan O'Brien on Crack the Skye; Mike Elizondo on The Hunter (usually omitted); Nick Raskulinecz on Once More 'Round the Sun; O'Brien again on Emperor of Sand (not Bottrill); David Bottrill on Hushed and Grim.
• The Bayles-to-O'Brien shift has a cause. Hinds suffered a brain haemorrhage in 2007 and wrote much of Crack the Skye on acoustic guitar while recovering. Kelliher: "That accident with Brent really changed not only him but the dynamic of the band… I feel like that was the last record we did as a band that was complete. After that record, things were never the same as far as all of us going into a studio together." Musically the album added far more clean and acoustic texture, and dual 9- and 12-string guitars for atonal chorus effects.
• The Hunter deliberately shortened everything. Dailor described it as "a little more stripped down," like "a really super-heavy Led Zeppelin." Kelliher: "On Crack The Skye, we went crazy, using every guitar under the sun and putting on track after track of harmonies" — The Hunter was the less-is-more correction.
• Tempo and length: roughly a 110–150 BPM surface band, with internal half-time and blast sections that tempo-detection tools can't see. Crack the Skye averages about seven minutes a track; The Hunter about four; Hushed and Grim is a double album at 86:17.
• Where the band is now, factually. Brent Hinds left in March 2025 — announced by the band as a mutual decision, a characterisation Hinds publicly disputed that August. He died on 20 August 2025 in a motorcycle collision in Atlanta, aged 51. Nick Johnston, who had been filling in on tour, is now a full member alongside keyboardist João Nogueira, and an album titled Marrow Deep is announced for 28 August 2026, produced with Kurt Ballou and Patrik Berger. As of this writing it hasn't been released.

1. PAST BEAT ONE

Meshuggah ▸ Mastodon — One band's payoff is the other band's thing to avoid.

The variable that moves: Motion moves into the grid — and collides with it head-on.

Hinge (what already agrees): There is no documented connection between these two bands at all — no tour, no collaboration, no quote in either direction. What they share is an ancestor: Haake cites Bill Ward for his "free sense" and swing, and Dailor says "I consider myself in the Bill Ward camp of metal drumming as opposed to the Vinnie Paul side." Two drummers who have never met, both defining themselves against metronomic timekeeping by pointing at the same 1970 record. Both bands also insist they aren't mathematical — Hagström works "the way you would when playing a blues," Dailor sees riffs "cinematically."

Friction (what fights): The cleanest single opposition in this entire series. Meshuggah's long odd cycle exists in order to land back on beat one — "Do Not Look Down" realigns after seven cycles, and that arrival is the whole point. Dailor's stated favourite move is "to play past beat 1." Same beat, opposite instincts.

Resolution: Let the guitars resolve and the drums refuse to. Keep the polymetric cycle intact and let it realign on schedule — but have the drummer deliberately overshoot the realignment with a fill that lands a beat late. The listener hears the grid snap shut and the drums fall straight through it. Then hand all melodic content to a hybrid-picked, banjo-derived lead, which is something Meshuggah would never play. Two engines running at once, with the disagreement audible instead of averaged out.

Recipe

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• Chassis: Meshuggah — 100–115 BPM, ~6:00, extended-range low tuning, single-note staccato lines rather than chords
• The grid: cymbal hand and snare hold strict unchanging 4/4 quarters. Non-negotiable — without it there's no phase to hear
• The cycle: guitars and kick on a 17- or 19-note figure that drifts and realigns after six or seven repetitions
• The collision: at every realignment the drums overshoot — a Dailor-style fill built from paradiddles and grace notes that lands past beat one while the riff lands on it
• Lead: Hinds's hybrid picking (pick plus middle, ring and pinky, banjo fingerings) over the grid, minor pentatonic and harmonic minor — not diminished legato
• Vocals: three singers rotating by section, replacing the single barked layer. Verse rough shout, pre-chorus higher clean, chorus raw howl
• Bass: locked to the kick on the cycle, not to the cymbal grid
• Mix: dry DI-tracked guitars (the obZen method, no mics at all) but a real room on the drums so the overshoot reads as human
• Avoid: letting the drums also resolve. And avoid making the riff melodic — melody is the lead's job, the riff's job is the phase.