I, Monarch Double-Bass Control — Derek Roddy (Hate Eternal) Drum Lick | MetalForge
VIDEO
Learn the I, Monarch Double-Bass Control drum lick by Derek Roddy of Hate Eternal. From I, Monarch (I, Monarch (2005)). Derek Roddy is as celebrated for his feet as for his hands, and Hate Eternal's I, Monarch (2005) is ...
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1. Derek Roddy's Signature Licks — Derek Roddy is as celebrated for his feet as for his hands, and Hate Eternal's I, Monarch (2005) is a masterclass in controlled, high-velocity double bass. Where many extreme drummers rely on triggers and brute speed, Roddy built his reputation on clean, even double-bass strokes that remain audible and musical even buried under Erik Rutan's dense riffing. His approach treats the feet exactly like the hands: heel-up, balanced, and relaxed, with each stroke fully articulated rather than smeared together. On I, Monarch the double bass is not just a speed display — it is woven through blast sections, half-time grooves, and transitions, so the feet have to be both fast and rhythmically precise, switching gears without losing evenness. In this Drumeo lesson Roddy demonstrates the mechanics directly: the ankle motion, the balance point on the pedal, and how he keeps both feet producing identical strokes so the pattern stays even across long passages. What makes this such a valuable study is that it isolates the single hardest thing about extreme double bass — consistency. Anyone can play fast for a bar; playing fast, even, and relaxed for a whole song is the real skill, and that is exactly what Roddy's playing demands. For drummers, working in this style develops ankle control, foot independence against the hands, and the endurance to sustain double bass under a blasting snare. The path is the same one Roddy preaches: slow practice with a metronome, focusing on making both feet sound identical before adding speed. I, Monarch stands as one of the most technically demanding double-bass performances in death metal, and the control behind it is what separates it from mere speed.2. Derek Roddy Profile — Play heel-up with a balanced ankle motion so each foot produces an identical stroke Keep both feet relaxed and articulate rather than burying strokes into a blur Switch between double-bass runs, blasts and half-time without losing evenness Anchor the balance point on the pedal so endurance holds across full songs Practise feet-only with a metronome to make the left foot match the right exactly
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