Septuagint Odd-Time Mastery — Hannes Grossmann (Obscura) Drum Lick | MetalForge
VIDEO
Learn the Septuagint Odd-Time Mastery drum lick by Hannes Grossmann of Obscura. From Septuagint (Omnivium (2011)). Grossmann's tenure in Obscura produced some of the most acclaimed technical death metal of its era, ...
Gear Deep Dives & Articles
1. Hannes Grossmann's Signature Licks — Grossmann's tenure in Obscura produced some of the most acclaimed technical death metal of its era, and tracks like "Septuagint" from Omnivium (2011) are built on the odd-time phrasing that became one of his trademarks. Obscura's compositions move fluidly between conventional meter and irregular groupings — phrases in seven, five, or shifting combinations — and Grossmann's gift is making those odd meters feel like grooves rather than arithmetic. Rather than counting every bar as a hurdle, he internalises the groupings so the riffs breathe, accenting the right points so a listener can lock in even when the bar lengths are uneven. In his instructional material on odd time signatures, Grossmann lays out exactly how he approaches this: how to subdivide an odd meter into manageable cells, where to place accents so the pulse stays clear, and how to keep double bass and blasts even while the meter shifts. That methodical, teachable approach is the key to his Obscura playing. For drummers, this is a foundational study in one of metal's hardest skills: making odd time signatures musical. It develops the ability to subdivide and feel irregular meters, to place accents that define the groove, and to keep technical elements clean across changing bar lengths. The way in is to count the groupings slowly, clap or play the accent pattern until it feels natural, and only then add the full orchestration. "Septuagint" and Grossmann's odd-time concepts remain essential learning for anyone serious about progressive and technical death metal drumming.2. Hannes Grossmann Profile — Subdivide odd meters into smaller cells (e.g. 7 as 4+3) to make them playable Place accents at consistent points so the pulse stays clear through odd bars Internalise the groupings until the meter feels like a groove, not arithmetic Keep double bass and blasts even while the bar lengths shift Clap or play the accent pattern first, then add full orchestration
Visit MetalForge →