Riff Tone
Vicinity Of Obscenity
System Of A Down
Guitarmetal2000s
Original Gear
GuitarGibson SG Standard (early 2000s, likely stock pickups)
AmpMarshall JCM800 (modded, studio recording)
PickupsGibson humbuckers (stock SG pickups, likely 490R/498T set)
Amp Settings
gain0
bass5.5
mid5.5
treble7
reverb1
presence5.5
Effects & Signal Chain
No effects used for this tone
Notes
Studio recording for 'Hypnotize' (2005); Daron Malakian is known to use a Gibson SG and a modded Marshall JCM800 in the studio for this era. No direct evidence for alternate guitars or amps on the clean section of this song. No evidence of pedal use for clean tone.
Tone Character(10)
percussive and drytight attackarticulate note separationminimal sustainslightly rolled-off highsmedium output, not glassyno audible reverb or delay tailsno modulation or chorusfocused midrangebridge pickup bite
Difficulty
The riff requires fast, percussive picking and tight muting for the dry, articulate clean tone, making it moderately challenging for intermediate players.
Sources
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Create Free AccountGuitarmetal2000s
Original Gear
GuitarGibson SG Standard (early 2000s, likely stock pickups)
AmpMarshall JCM800 (modded, studio recording)
PickupsGibson humbuckers (stock SG pickups, likely 490R/498T set)
Amp Settings
gain0
bass5.5
mid5.5
treble7
reverb1
presence5.5
Effects & Signal Chain
No effects used for this tone
Notes
Studio recording for 'Hypnotize' (2005); Daron Malakian is known to use a Gibson SG and a modded Marshall JCM800 in the studio for this era. No direct evidence for alternate guitars or amps on the clean section of this song. No evidence of pedal use for clean tone.
Tone Character(10)
percussive and drytight attackarticulate note separationminimal sustainslightly rolled-off highsmedium output, not glassyno audible reverb or delay tailsno modulation or chorusfocused midrangebridge pickup bite
Difficulty
The riff requires fast, percussive picking and tight muting for the dry, articulate clean tone, making it moderately challenging for intermediate players.
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