Inferno of Violence Double Bass Drive — Tim Yeung (Divine Heresy) Drum Lick | MetalForge
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Learn the Inferno of Violence Double Bass Drive drum lick by Tim Yeung of Divine Heresy. From Inferno of Violence (Bleed the Fifth (2007)). Tim Yeung built his reputation across multiple extreme metal bands before Divine Heresy, but it is i...
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1. Tim Yeung's Signature Licks — Tim Yeung built his reputation across multiple extreme metal bands before Divine Heresy, but it is in the context of Dino Cazares's Fear Factory-influenced riff architecture that his double bass vocabulary is best displayed in isolation. "Inferno of Violence" from *Bleed the Fifth* (2007) is among the most direct showcases of Yeung's foot technique on the album: the song's construction features extended passages where the guitar riff sustains over a driving double bass foundation, giving the listener an unobstructed view of how Yeung operates his pedals at near-200 BPM tempos. His double bass approach at this speed is heel-up throughout, with the ankle doing the majority of the work rather than the entire leg — an efficiency principle shared with every other elite extreme metal double bassist from Derek Roddy to Pete Sandoval. The key distinction in Yeung's execution is the audibility of each individual stroke: both feet produce a consistent, defined note rather than a rushing smear, which requires the pedals to be tensioned and sprung to suit the extreme tempo while still giving enough rebound to allow clean recovery between strokes. On "Inferno of Violence" this produces a double bass pattern that feels both powerful and articulate — it drives the riff from below with physical force but never loses the metric clarity that keeps the listener's ear tracking the groove rather than losing the pulse entirely. The bass drum tones on the Divine Heresy recordings were produced with trigger assistance, which was standard practice for death metal recordings of the era and allows the kick clarity to survive the dense guitar mix. For live performance, Yeung reproduced the sound through careful pedal setup and mic placement rather than relying entirely on electronics. For drummers, this track teaches the most practically demanding aspect of extreme double bass: maintaining consistency across long, unbroken passages without the feet tensing up or rushing. The prescription is slow-twitch endurance work — long sessions at a moderate tempo building ankle stamina before the tempo is raised — rather than short, high-speed bursts that build the wrong kind of muscle memory.2. Tim Yeung Profile — Play heel-up with ankle-driven strokes — using the full leg at this tempo produces fatigue and unevenness within bars Set pedal spring tension to allow fast rebound without excessive resistance that tightens the ankle under load Keep both feet producing identical tone — left foot weakness at high tempo is the most common failure point Sustain long double-bass passages by relaxing between strokes rather than maintaining constant muscular tension Practice with trigger-free monitoring at low volumes so any unevenness in tone becomes immediately audible
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