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Lonely Day — System Of A Down1 / 2
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Lonely Day Solo Guitar Tone Settings — System Of A Down

System Of A Down · 2000s · rock

studio

Original Recording

Guitar
Gibson SG Standard (1962 reissue or original, as used by Daron Malakian on Mezmerize/Hypnotize era)
Pickups
Gibson PAF-style humbuckers
Amp
Marshall JMP (modded, likely 1970s/early 80s, as per Daron's studio use)
Pickup Position
Neck pickup

Studio recording, 2005 (Mezmerize/Hypnotize sessions). Daron doubled parts with an early 80s Gibson Korina Flying V, but the SG is the main guitar for clean sections. No evidence of pedal use for clean tone; amp is run clean with possible studio reverb/delay added in mix. No evidence of live rig for this specific recording.

Amp Settings

Mids
6
Bass
5.5
Gain
0
Reverb
2
Treble
6.5
Presence
5.5

Effects Chain

  • Strymon DIG Dual Digital Delay · delay

Guitar → Strymon DIG Dual Digital Delay → Marshall JMP (clean channel, spring reverb on)

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Tone Character

  • warm and rounded
  • bell-like clarity
  • slightly compressed
  • open and sustained notes
  • subtle ambient delay
  • smooth attack
  • articulate single-note lines
  • studio-polished
  • not harsh or brittle
  • clear separation in harmonized parts

Notes & Caveats

  • ⚠️Gain adjusted to 0 for clean tone
  • ⚠️No direct source for exact amp knob settings for the clean solo section; values estimated based on typical Marshall JMP clean settings and genre/era.
  • ⚠️No explicit confirmation of effects pedal use for clean solo; delay/reverb inferred from audible recording and Equipboard listing of Strymon DIG for solos.
  • ⚠️Pickup choice inferred from tone and Daron's known preference for neck pickup on clean parts.
  • ⚠️Amp model inferred from Daron's interviews about Mezmerize/Hypnotize era and typical studio practice.
  • ⚠️Presence and reverb settings estimated; no direct source.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Daron Malakian's solo tone on 'Lonely Day' is high gain but not ultra-saturated, with a tight low end, balanced mids, and a slightly bright, cutting edge. The production is dry with minimal reverb, matching mid-2000s alt-metal conventions and his typical Mesa/Marshall amp settings.

Sources