[Daron Malakian] How to Recreate the System of a Down Sound + Guitar Gear and Tone Settings [Effects & Amps]

関連記事

[Takaakira Goto] How to Recreate the MONO Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.132025.09.13

[Hiroshi Nishikawa] How to Recreate the GRAPEVINE Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.132025.09.13

[Takashi Gima] – How to Recreate the MONGOL800 Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.04

Introduction (Overview of Tone)

Daron Malakian is the innovative guitarist behind the distinctive sound of System of a Down. His playing style is characterized by intense riffs and melodies that oscillate between heavy metal and Middle Eastern scales, creating a unique blend that feels both aggressive and culturally rich.

Iconic tracks like “Chop Suey!” and “Toxicity” showcase his ability to combine powerful distortion with dynamic rhythms and atmospheric effects. In contrast, “Lonely Day” features a clean tone intertwined with phaser effects, demonstrating his wide-ranging expressive capabilities.

Malakian’s sound design leverages the character of the guitar itself while utilizing classic amplifiers like Marshall and Mesa/Boogie, which he has varied significantly over time. Notably, during the recording of “Mezmerize” and “Hypnotize,” he layered multiple vintage guitars and amplifiers to create a rich and immersive sonic landscape.

Thus, Malakian’s sound transcends mere “heavy metal guitar,” serving as a vital medium for the band’s political and social messages. In the following sections, we will organize and detail the amplifiers, guitars, and effects he has used over time, along with settings to recreate his tone and affordable alternatives for aspiring guitarists and fans of SOAD.

▶ Search official YouTube videos of System of a Down

List of Amplifiers and Features

When discussing Daron Malakian’s sound design, the choice of amplifiers is crucial. He has consistently paired classic models from Marshall and Mesa/Boogie, adapting the thickness and sharpness of his sound to fit the songs. Notably, during the recording of SOAD’s landmark albums “Toxicity,” “Mezmerize,” and “Hypnotize,” he was known to experiment boldly with different amplifier types.

In live settings, he frequently relies on the Marshall JCM800 and MODE FOUR for their stability and power, as evidenced by stage photos showing him using them with 4×12 cabinets. This combination is key to achieving SOAD’s heavy yet clear riff sound.

For recording, he often uses a modified 70s Marshall JMP100 by Dave Friedman, along with the Mesa/Boogie Dual Rectifier and Triple Rectifier. Particularly during the “Mezmerize” and “Hypnotize” eras, this modified amp became central to achieving a powerful gain and tight low-end response. Additionally, he introduced the Divided by 13 FTR-37 to incorporate unique tones reminiscent of Greek music into his work.

Malakian has also experimented with amplifiers from brands like Soldano, Orange, Matchless, and Vox, suggesting a willingness to explore different tonal colors depending on the context. His amplifier choices reflect a clever balance between “live stability” and “layered sound for recordings.”

As a result, Malakian’s sound is a blend of Marshall’s robust midrange and Mesa/Boogie’s modern gain, underpinning the unique heaviness and aggression of System of a Down’s riffs. Overall, his amplifier history is diverse yet consistently focused on pursuing “power and individuality.”

Types of Guitars Used and Features

The most critical aspect of Daron Malakian’s sound is the diverse range of guitars he has favored throughout his career. From the early days of SOAD to the present, he has skillfully utilized a variety of instruments, prominently featuring the Ibanez Iceman alongside vintage Gibsons and Fenders. His choices for live performances and recordings often differ, allowing him to switch up the thickness and character of his sound based on the context.

Notably, the Ibanez Iceman has served as his main guitar since the early days of System of a Down, with several models in black and gold finishes. The earliest models were painted by his father, and he has mentioned that the first one was stolen. Later, the signature model DMM-1 emerged, solidifying its status as an iconic guitar for SOAD.

Vintage guitars like the Gibson SG Standard and Les Paul SG Standard also play a significant role in his arsenal. Particularly, the combination of a 1962 SG and a 1968 ES-335 was pivotal in creating the thick sound during the “Mezmerize” and “Hypnotize” recordings. This pairing is often cited as a secret behind SOAD’s distinctive guitar sound.

In live settings and for specific tracks, he has also used the Jackson Randy Rhoads, Gibson Les Paul Standard, and Flying V. Additionally, Fender Stratocasters and Jazzmasters have been spotted in his earlier to mid-career, chosen for their clean tones and ability to express Greek musical influences.

Interestingly, he has also been known to use the Gibson EDS-1275 Double-Neck and a 1964 Gibson SG Special (with P90s). Furthermore, he owned a blue Carvin guitar in his youth, which was also stolen.

Malakian’s guitar selection reflects a balance between “sound diversity” and “stage presence,” supporting a broad sonic landscape that goes beyond just metal guitars. Overall, his choice of guitars is deeply intertwined with his sound design and the music of the time.

Effects and Pedalboard Setup

Daron Malakian’s pedalboard is relatively simple for a metal guitarist, yet it features unique gear that adds necessary nuances to his songs. His sound design centers around the drive of the amplifier, complemented by space and modulation effects to create SOAD’s dramatic sound.

For instance, the MXR Phase 90 is essential for crafting the unique wavering sound in tracks like “Chop Suey!” and “Lonely Day,” enhancing his cleaner parts. He also employs various Boss delay pedals (DD-3, DD-6, DD-20, GigaDelay), Line 6 DL4, and Strymon DIG to add space to his riffs.

In terms of wah pedals, he has used several, including the Fulltone Clyde Standard Wah, Vox Wah, and MSD Silvermachine Wah, to enhance the aggressive nuances of his songs and solos. Live photos confirm the use of the Vox Wah, indicating that he has incorporated different wah sounds over time.

For distortion, the Boss MT-2 Metal Zone is well-known, although some speculate he may have used the HM-2 as well. However, it appears that the amp’s gain is the primary focus, with pedals serving a supplementary role.

Additionally, he utilizes the Ground Control Pro to manage his entire pedalboard, allowing for efficient switching between multiple delays and modulation effects. A Voodoo Lab Pedal Power supplies stable power to his setup. Uniquely, he has also employed the Boss PC-2 Percussion Synthesizer, representing one of the experimental elements in SOAD’s sound design.

Overall, Malakian’s effects setup is designed to be “minimal yet impactful,” contributing significantly to the depth of SOAD’s sound. His pedalboard maintains a direct connection to the amp while incorporating space and modulation effects to enhance his unique sonic world.

Tone Settings, EQ, and Mixing Approaches

Daron Malakian’s sound design is characterized by a pursuit of balance between heaviness and clarity, rather than merely relying on high gain. His riffs are often played in lower tunings such as drop C or drop D, necessitating careful EQ and amp settings to prevent muddiness. Particularly in SOAD’s music, the interplay between guitar, bass, and drums is crucial to the overall sound.

When using amplifiers like the Marshall JCM800 or Friedman-modded JMP100, he typically keeps the gain around 7-8 to avoid excessive distortion. This approach allows for a clear articulation of each note in his riffs while maintaining a powerful sound. The treble is usually kept slightly lower, the mids are boosted, and the bass is adjusted to prevent overpowering the low end. This setup results in a sound where the contours of the riffs, especially in tracks like “Toxicity” and “B.Y.O.B.,” are distinctly audible.

When employing the Mesa/Boogie Dual Rectifier or Triple Rectifier, he often utilizes the modern channel, emphasizing tight low-end while keeping gain levels moderate. To highlight the attack of palm-muted notes, he may raise the presence slightly. This combination has been particularly effective in achieving a heavy yet well-defined guitar sound in tracks from “Hypnotize.”

In terms of effects, he actively incorporates delays and phasers. For clean tones, the MXR Phase 90 is used to create a floating sensation reminiscent of Middle Eastern music. In “Lonely Day,” he employs the Boss DD-6 and Strymon DIG, adjusting the delay time to match the song’s tempo for a dreamy ambiance. Malakian’s sensibility shines through in his selective use of effects, applying them only at specific moments in each track.

During the mixing phase, he frequently employs double and triple tracking to create a thick wall of sound. For instance, he might place an SG on one side and an ES-335 on the other, blending them with a Rectifier in the center. This layering technique is particularly evident in the albums “Mezmerize” and “Hypnotize.”

From the perspective of live sound and engineering, Malakian’s guitar tone emphasizes the midrange, requiring careful EQ adjustments at the PA to manage low-end frequencies while highlighting the mids. Given that SOAD’s sound focuses low-end energy on the bass and kick, the guitar is often mixed to establish its presence in the midrange.

In summary, Malakian’s sound design approach maximizes the inherent character of the amplifier while keeping effects minimal to add individuality. By avoiding excessive gain, securing midrange presence through EQ, and layering guitars in recordings, he achieves the aggressive yet intelligent guitar sound that defines System of a Down.

Affordable Alternatives to Recreate the Tone

Many aspiring guitarists may wish to emulate Daron Malakian’s sound but find the actual gear prohibitively expensive. Therefore, here are some relatively affordable options that beginners and intermediate players can easily incorporate. These alternatives typically range from $100 to $500, providing a high degree of fidelity to SOAD’s sound.

Starting with amplifiers, while the Marshall and Mesa/Boogie models he favors can be costly, alternatives like the Marshall CODE or Blackstar HT series can be effective substitutes. These models utilize digital modeling or tube circuitry to recreate sounds similar to the JCM800 or Rectifier at a more accessible price point. The CODE, in particular, offers presets that can easily achieve high-gain British tones suitable for SOAD’s riffs.

For distortion pedals, the Boss MT-2 Metal Zone is a well-known option. Malakian himself has experience with this pedal, making it a natural choice for those looking to replicate his sound. However, it tends to have a pronounced “scooped” character, so boosting the mids with EQ can help bring it closer to his tone. Another user-friendly option is the ProCo RAT 2, which provides a tight midrange that enhances the definition of riffs.

For spatial effects, the Boss DD-7 or DD-8 are versatile choices. These models are successors to the DD-6 and offer a wide range of delay times, stereo outputs, and looping capabilities. They are particularly effective for creating the ethereal sounds found in tracks like “Lonely Day.” Additionally, the MXR Phase 90 is relatively affordable and easy to find, allowing for the quick recreation of SOAD’s signature floating clean tones.

As for guitars, while the Ibanez Iceman signature model may be hard to find, entry-level models from Ibanez’s Gio series or the Epiphone SG Standard can serve as suitable substitutes. The SG, in particular, has a strong midrange character that can closely approximate SOAD’s thick riff sound. Upgrading the pickups to Seymour Duncan SH-6 (which Malakian has used) can further enhance the tonal accuracy.

By selecting modeling amplifiers, reliable effects from brands like BOSS or MXR, and budget-friendly guitars from Epiphone or Ibanez, aspiring musicians can get closer to Daron Malakian’s sound without breaking the bank. The key is to remember the importance of maintaining a balanced EQ with controlled gain levels and selectively applying spatial and modulation effects.

Summary and Conclusion

In reviewing Daron Malakian’s sound design, the essence lies in “not over-distorting while emphasizing the strength of the riffs.” His guitar sound is unique within the metal genre, characterized by melodic and ethnically nuanced elements. This is achieved through a consistent focus on guitar selection, amplifier settings, effects usage, and final mixing processes.

For example, he uses the Marshall JCM800 or modified JMP100 with a relatively low gain setting while reinforcing the low end with the Mesa/Boogie Rectifier. Layering vintage Gibson SGs and ES-335s, alongside choices like the Ibanez Iceman or Flying V for specific tracks, creates the intricate layering that defines System of a Down’s overwhelming sound and individuality.

His approach to effects also emphasizes selecting effective yet minimal options, such as the MXR Phase 90 and Boss DD series, while limiting their use to specific moments in the songs. The incorporation of wah and synth-like approaches at key points contributes to the unstable and thrilling atmosphere characteristic of SOAD. This reflects a philosophy of using sound to accentuate the song’s expression rather than over-complicating it.

For beginners or tribute bands aiming to recreate his sound, it is not necessary to acquire the exact same gear. The key is to maintain a balanced EQ with controlled gain levels and to apply spatial and modulation effects judiciously. Affordable alternative gear can effectively capture the essence of his sound, demonstrating that there is much to learn about “sound design that is reproducible in any situation.”

Overall, Malakian’s sound design is built on three pillars: “the power of the riffs,” “the inherent tone of the amplifier,” and “the necessary minimum of effects.” Pursuing his sound involves not just copying equipment but also learning to adapt sounds to fit the music. The reason SOAD’s music has been loved worldwide for over 20 years lies in this unique sound design philosophy.