Steve Albini can do whatever he likes, i’ll always be in awe.
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Sorry to repeat myself but what is the challenge there? You don’t even need to retrig anything but instead you could just make that track go twice the speed compared to the other tracks, thus allowing 32nd notes.
edit: also with micro timing you can achieve triplet bursts a la Vinnie Paul.
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Nice find, the Drumkit from Hell is behind some excellent records.
Devin Townsend used the same kit on his Ziltoid the Omniscient record for every single track.
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I thought this video was pretty good at explaining:
Meshuggah is one of my favorites in the metal realm. (next to maybe Candiria and Vektor) Thinking man’s metal. 
I’m stroking my chin right now if you can’t see. 
Anyway, cool video explaining the timing, meter, etc.
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Just read this quote and this is heartbreaking to me, lol. I always liked this inhuman wall of (drum) sound on “Altered States of America”.
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Just posting, i have no clue about this midi thing etc
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These drums might be a bit tricky to program…
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Yep, 16th notes.
With the odd cheeky 32nd note to get extra metal points.
Not much to it really when you analyse it. That album was all programmed, later on Haak would have to learn how to play those patterns for gigs. Bleed was quite hard, he said.
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Pls do some Bolt Thrower!
I could see that pattern (and the way it shifts (and sometimes instantly)) being very difficult to play manually. I can tap out single similar patterns with my hands at that speed for example, but even though I can keep the pace up, my muscles aren’t that disciplined. I always end up with a small random count change because I tapped too many 32nd notes with one hand. Thomas’ precision is incredible. I think I’ve got something similar pattern-wise in mind for the Digitakt now (want to give something like it a whirl), but rather than use kick samples, I’m trying to design that clicky-double-kick sound from scratch with single cycles, noise, and shaping. Not there yet, but should get pretty close. I want this experiment to be in this style, but to be electronic. Just need a couple more hours to sit down at the Digi. If it turns out mildly interesting I’ll post it. 
I haven’t tried to do this before though. (alternating percussion with the other parts and treating the other parts percussively) I’ve got a bit of a Meshuggah (and Candiria) obsession actually, but have never taken part in the making of any form of metal before, real or simulated. I’ve got friends in metal bands, but that’s about as close as I’ve gotten.
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Ok, here’s the first attempt. It could use variations, a slightly more Meshuggah-style melody (this one sounds a bit more like NIN ) and more rhythms to rotate in and out. Anyway, all Digitakt, and the sounds were constructed from small looping chunks of other samples for the most part. (single cycles, and very small chunks of other things, but used the same way. (except the snare and ride) Some FM from the LFOs, some kick and “guitar” variations with the sample and hold LFOs, etc. etc.
It’s modeled roughly (and more simplistically) after parts of “Bleed”.
I use 2x track timing for the kick and “guitar” with 64 steps total. I spaced out the patterns manually. Everything else is 16 steps.
This is all one pattern with mutes. What would help is to have some patterns that had different timings, so some nice fast snare/tom breaks and fills could be done. Also adding another part (as in the video I posted above) where there are three parts that make up the rhythm instead of two like I used here.
I’m actually curious how it would turn out to do something like this with more typical synth sounds, and less Metal-Emulation-TM. I might try that now.
I have a spare track. Maybe Jens Kidman would do a bit of growling 
Genre: Synth Djent??? 
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I made another one, but with a different set of track timings, synthier sounds (as opposed to pseudo-metal-emulation) and added an arp track. I’ll toss it up as soon as I get it recorded.
while i wait, i’ll watch this on repeat
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