The metal giants return to the stage with a show powered by gold-and-black axes and pure tube power.
Except for two new singles in 2020, alt-metal icons System of a Down haven’t released new music in 20 years. But luckily for their fans, System—vocalist Serj Tankian, guitarist/vocalist Daron Malakian, bassist Shavo Odadjian, and drummer John Dolmayan—took their catalog of era-defining, genre-changing hard-rock haymakers on tour this year across South and North America.
PG’s Chris Kies connected with Malakian onstage at Soldier Field in Chicago ahead of System’s second show at the football stadium. Malakian and his tech, Patrick Lachman, explained how some color-coded Gibson, Ibanez, and Friedman gear give Malakian the fire he needs to burn through the band’s legendary set.
This Gibson SG is brand new and “hot off the presses,” per Malakian’s tech, Lachman. Built in Gibson’s Custom Shop, it’s got Seymour Duncan Custom Shop pickups. On this run, he starts shows on this guitar, and will typically switch things up after about 10 songs.
Malakian plays custom, extra-pointy Dunlop picks, and runs all his axes with a custom set of Ernie Ball strings (.010–0.50). System’s catalog, and therefore Malakian’s guitars, are predominantly in drop-C tuning.
Freeze!
Next up during the set, Malakian will turn to his iconic Ibanez Iceman, one of his most heavily leaned-upon toys during this tour. This one has black “secret ninja binding,” his tech quips, virtually invisible to all but Malakian. It’s wired with Seymour Duncan Custom Shop Pearly Gates pickups.
B.Y.O.V.
Malakian always liked how Albert King’s Flying V looked with its Les Paul-style headstock, so when Gibson was making him a V, he requested that it be outfitted with the same look. This one’s rocking a pair of Seymour Duncan Saturday Night Special pickups.
Semi-Hollow Star
This Gibson ES-335, dressed in the same black-and-gold scheme as all of Malakian’s guitars, also came fresh from the Custom Shop for this run of shows.
Old and New, All Tube
Malakian doesn’t have anything against modeling technology, but he prefers to keep things old-school. He runs two generations of Friedman BE-100 heads at the same time: The newer BE-100 Deluxe head (below) is used for dirty tones, while the first-gen BE-100 (above) stays dialed for cleans. They’re connected to two Marshall 4x12 cabinets onstage, dedicated to either the clean or overdriven signals. The speakers are Celestion G12M-70s.
Loaded onto Malakian’s rack above the amp heads are a Shure AD4Q, Radial JX 44, MXR Smart Gate Pro, Voodoo Lab GCX, AmpRx Backline, and Furman PL-Pro DMC.
Daron Malakian’s Pedalboard
Malakian’s switching is handled backstage by his Scars on Broadway bandmate Orbel Babayan via this board. In addition to a Voodoo Lab Ground Control Pro switcher, Akai MPK Mini, and Scarlett Focusrite interface, the board is dead simple, with just an MXR Phase 90 and Boss DD-6 delay. No dirt pedals needed; all Malakian’s drive comes from the Friedman. A Voodoo Lab Pedal Power 2 Plus fires up the affair.
Question:What pedal doesn't exist now that you hope gets built in the next year?
Guest Picker - Penelope StevensMotherhood, Penny & the Pits
Photo by Brad Allen
A: I’m a synth player before a guitarist, and for years I’ve been trying to figure out a way to play my synths through my guitar … or my guitar through my synths? I know there are pedals that can make your guitar sound like a synth, even some that can emulate particular models, but I want a pedal that I can connect to any synth, and it can feed whatever patch I’ve built through my chain. I have a Volca Keys that makes absolutely GNARLY tones, and for a while I was trying to figure out a way to have it in my pedalboard as an effect. Alas, this is quite beyond my skillset—I’m no electrical engineer—but the dream has never died. Imagine being able to shape your guitar tone with as many possibilities as on an analog synth! Can somebody make me this pedal please?
Obsession: When I’m not touring, I’m a cocktail bartender. (PLEASE don’t call me a mixologist.) My current obsession is this margarita riff I’ve been working on: tequila blanco, amaretto, lime, and prickly pear shrub. I’m drinking this little number more than I should probably admit, especially as we fight a heat wave in eastern Canada. I’ve been making cocktails to go along with each song on my new album, and filming tutorials for each one on Instagram. The prickly pear margarita will be making an appearance soon!
Reader of the Month - Jin J. X
A: The out-of-production Boss VB-2. I absolutely love chorus and vibrato. I also love Boss. While I appreciate the CE-2w and absolutely love the upgrade/update, I just haven’t been able to connect with its counterpart, the VB-2w. I’ve tried multiple times to buy that pedal but to no avail. The Behringer UV-300 is analog and sounds absolutely perfect, though I’ve found that every single one I’ve bought over the years has a switch failure, and many modders can’t really work with them. Also, there are other great vibrato pedals, though without the “rise” function of the VB-2, I don’t find them as useful. I’ve heard the BYOC folks make one, though they seem to sell very quickly. I hope Boss, or someone, makes a true-blue VB-2-style pedal, with the right analog chip, that is built with solid components.
Obsession: Country-style guitar. Fifteen years ago, I bought a DVD called 50 Licks Country Style featuring Troy Dexter. After all these years, I finally pulled it out of the plastic and have begun trying to work those up. In many ways, the licks revolve around dominant 7 chords, so, in some ways, these country licks sound like jazz licks in the bridge position. It’s like a two-for-one special learning them. I also recently released an Afro-futurist/country album earlier this year called The Barefoot, Pregnant, Neck Beard, Marital Bed String Band, so I’ve been playing and promoting that record and putting my country licks to good use.
Brett Petrusek - Director of Advertising
A: I’d love a Boss Waza Craft Dimension C with a mix control knob, or better yet a Waza Craft reissue of the Digital Dimension with expanded tonal range, better filtering, fancy high-quality buffer, and with that ultra-low noise floor.
Obsession: Auditioning stereo modulation pedals. I use pedals like this in my live rig to split out in front of two big amps to expand the stereo field. I like the option of being able to keep it subtle and having easy access right on my pedalboard (old-school). It’s an art form to find modulation or doubler pedals that will do this into the front end of high-gain amps without a lot of hiss. I am currently digging the Mr. Black DoubleTracker Stereo; it can get insanely wide (especially in the effects loop). Maybe Keeley will make a stereo 30 ms in their new folded aluminum enclosures … I bet their fanbase would go nuts!
Nick Millevoi - Senior Editor
A: I’ve spent years longing for a pedal that captures the unique sonic capabilities of the Lexicon Prime Time. The Soundtoys PrimalTap plugin does an excellent job for working at home, but I dream of making those warm, ethereal sounds live (and the pricey rack unit itself isn’t practical for most of us). The Prime Time’s double delay lines with lo-fi-enhancing multiply knob sounds truly unique among delay units (dig it, Daniel Lanois enthusiasts), and its hip primary color knobs demand pedalboard real estate!
Obsession: I just caught Tommy James & the Shondells live and was blown away. Over the course of a relentlessly hit-laden set list—seriously, it was one after another: “Crystal Blue Persuasion,” “Mony Mony,” “Crimson and Clover,” “I Think We’re Alone Now,” “Draggin’ the Line,” and on and on—Tommy’s voice was in the finest form, driven by a powerful, heavy-grooving band. Go see ’em if you can!
Discover the magic of tone with the latest pedals! From the versatile Brothers AM to the warm Keeley Manis Overdrive, each offers unique sonic possibilities. Ready to elevate your sound? Dive into the Eventide H90's powerhouse effects or the compact CHO-mini's rich chorus. Which pedal will inspire your next masterpiece?
CHASE BLISS Brothers AM
A faithful tribute to the Analog Man King of Tone, the Brothers AM offers dual multi‑mode gain channels—boost, overdrive, or distortion—with intuitive controls, live tweakability, and four onboard custom presets. It adds a bonus treble‑booster circuit inspired by the Beano Boost, giving you extra bite and clarity. Fully MIDI, expression, and CV‑controllable, this pedal lets you save tones and stack effects while preserving the warm, transparent character of the original.
The Keeley MANIS Overdrive is a bold evolution of the mythical transparent drive, blending NOS germanium transistors and diodes for unmatched warmth, compression, and grit. With switchable voicings and dynamic touch response, it’s a tone-sculpting weapon built for players who demand both clarity and rich harmonic character in one pedal.
Eventide’s flagship H90 Harmonizer is a powerhouse multi-effects pedal. It features 70 effect algorithms, including reverb, delay, pitch shifting, modulation, and distortion, plus hundreds of curated programs. With comprehensive I/O and flexible routing, the H90 is built to be the heart of your rig, on stage or in the studio.
The Amp Academy Stomp is the latest in amp modeling from NUX. Included are several legacy amps, effects, Bluetooth with an app, workflow features, and more. Most importantly, the Amp Academy Stomp includes Image, which loads NAM profiles into the Amp Academy Stomp and, with black-box algorithms, accurately reproduces the dynamics and responsiveness of any amp profile loaded into the pedal.
The pocket-sized and feature-packed CHO-mini pedal delivers an outstanding selection of chorus tones at a budget-friendly price. With a selection of three curated and timeless chorus effects, the CHO-mini delivers a wealth of sonic possibilities in mono or spacious stereo imaging. Includes tap-tempo, true or buffered bypass, metal housing. Available from Osiamo.
The Fuhrmann Echoes pedal is a versatile delay unit, offering digital, modulated, and analog modes. It provides clear, modulated, or degrading (analog-like) delay repetitions, adjustable with a low-pass-filter control. Featuring tap tempo and two rhythmic subdivisions, this compact pedal delivers up when one delay is not enough.
Batverb is the stereo reverb that dreams are made of. Less of a room simulator and more of a tail-generating pedal, Batverb is an instrument in its own right. Batverb sings in any signal chain, with dedicated controls for suboctaves and overtones, saturation, ducking behavior, and more.
The Ampero II is the latest addition to the Ampero series, a second-generation multi-effects processor that brilliantly combines the iconic stage control of the original Ampero with the power of a new triple-core digital audio processing platform. Plus, a larger, sharper 5-inch dynamic touchscreen and newly designed system UI for smoother, and more intuitive interaction. All while maintaining the compact and lightweight design of the Ampero Series.
The Fuhrmann Stellar Stereo Reverb pedal delivers a broad range of reverbs, from short early reflections to long, floating tails. Users can seamlessly transition between nine stored reverb scenes with no noticeable delay. Intuitive controls allow for precise adjustments, making it a powerful and user-friendly addition for diverse sonic needs.
The DoubleTracker Stereo delivers lush, organic stereo doubling with adjustable delay, pitch, and spread. Featuring dual isolated paths, intuitive controls, and unique SYNC/COMP modes, it adds depth and dimension to any instrument—perfect for guitar, bass, keys, vocals, and studio work. It’s not chorus. It’s Double Tracking.
The Rock N Roll Relics Stinger overdrive has all the mojo of classic, yellow drive pedals, but with tonal refinements to bring it to the modern age. We use NOS construction, as you’ll come to expect with the Stinger Series, which gives it that authentic, ear-pleasing tone we all want.
The prolific Australian guitarist brought his mastery to east Nashville, where we got a look at the gear he’s trusting overseas.
Adam Miller has been compared to plenty of his most sacred influences—Tommy Emmanuel, Chet Atkins, Charlie Hunter, Bill Frissell—but he’s certainly carved a path of his own. This year alone, he’s released three records and undertook a U.S. tour to bring his delightful mix of jazz, groove, and beyond to eager listeners.
Before his show at the Underdog in east Nashville, Miller took some time to show PG’s Chris Kies around his trusted tools for international touring, including a gorgeous custom Huber electric, a Collings acoustic, and some key items on loan.
Calling a Huber
This custom-built Huber electric, by German luthier Nik Huber, was crafted over the last five years, working in elements of Miller’s previous Huber and several other designs. It has a heavily chambered mahogany back and redwood top, bolt-on maple neck, rosewood fretboard, trapeze tailpiece, and nylon saddles, plus Kloppmann Electrics mini humbuckers and a single 250k volume pot, which rolls off for a jazzy archtop sound. Miller strings it with D’Addario NYXLs (.011–.049s).
Borrowed Bari
Since Miller can’t bring all his favorite instruments on tour, he often borrows guitars from local friends and fans on tour, like this baritone Novo Serus J.
Collings Calling
Miller bought this Collings acoustic at Gladesville Guitar Factory, just outside Sydney, about 10 years ago. He runs it with a Seymour Duncan Wavelength duo pickup system, but swapped out the kit’s undersaddle piece for soundboard transducers and modified “the circuit so they’re at a crossover, so you’re only hearing the bottom end of them and all the top end’s coming from the condenser mic.” He uses D’Addario Nickel Bronze (.012–0.53s) on his acoustic.
Can I Bum a Studio Sig?
Miller has been a Two-Rock devotee since 2007, and on one of his first trips to the U.S., he visited the factory and picked one up. He doesn’t travel with his unit, so he borrowed this one from Nashville legend Cory Congilio. For Miller, an amp is the soundboard for an electric guitar; if he doesn’t have a Two-Rock, he struggles.
Adam Miller’s Pedalboard
Miller’s Collings runs into a Grace Design ALiX preamp, which helps him fine-tune his EQ and level out pickups with varying output when he switches instruments. For reverb, sometimes he’ll tap the Strymon Flint, but often he’ll let the front of house weave it in.
Aside from the ALiX and Flint, Miller relies on a Vemuram Jan Ray, Free the Tone SOV-2 Overdrive, Chase Bliss Mood, and Line 6 DL4 Mk II.
Vintage spirit and looks live in a Telecaster and Stratocaster with contemporary refinements at every turn.
Fender American Ultra Luxe Vintage 50s Telecaster
Representing the pinnacle of innovation and craftsmanship, Fender American Ultra Luxe sets the benchmark for premium electric instruments. The new American Ultra Luxe Vintage series takes it a step further, showcasing the finest of Fender heritage – where timeless classics meet uncompromising modern refinement. The American Ultra Luxe Vintage 50s Telecaster features premium ash with carved contours that complement the aged Heirloom™ lacquer finish. Built for precision performance, the quartersawn maple neck with a Modern ‘D’ shape and Ultra rolled edges features medium jumbo stainless- steel frets, Luminlay side dots, and a Graph Tech TUSQ nut. Each instrument features a tapered neck heel to ensure unparalleled access to the higher register. Under the hood, Pure Vintage ’51 Tele pickups deliver classic Fender tones, from sparkling cleans to rich, expressive leads. Performance hardware includes a precision-engineered 6-saddle string-though-body bridge with brass block saddles and deluxe locking short post tuners for quick string changes and superior tuning stability. The American Ultra Luxe Vintage 50s Telecaster delivers flawless modern performance with distinctive classic design. Available in Butterscotch Blonde and White Blonde.
Fender American Ultra Luxe Vintage 60s Stratocaster
Representing the pinnacle of innovation and craftsmanship, Fender American Ultra Luxe sets the benchmark for premium electric instruments. The new American Ultra Luxe Vintage series takes it a step further, showcasing the finest of Fender heritage – where timeless classics meet uncompromising modern refinement. The American Ultra Luxe Vintage 60s Stratocaster features premium alder with carved contours that complement the aged Heirloom lacquer finish. Built for precision performance, the quartersawn maple neck with a Modern ‘D’ shape and Ultra rolled edges features medium jumbo stainless- steel frets, Luminlay side dots, and a Graph Tech TUSQ nut. Each instrument features a tapered neck heel to ensure unparalleled access to the higher register. Under the hood, Pure Vintage ’61 Strat delivers classic Fender tones, from sparkling cleans to rich, expressive leads. Performance hardware includes a precision-engineered 2-Point American Ultra synchronized tremolo with polished stainless steel block saddles, cold rolled steel block, and deluxe locking tuners for quick string changes and superior tuning stability. The American Ultra Lux Vintage 60s Stratocaster delivers flawless modern performance with distinctive classic design. Available in Ice Blue Metallic and Surf Green.
Miller’s Collings runs into a Grace Design ALiX preamp, which helps him fine-tune his EQ and level out pickups with varying output when he switches instruments. For reverb, sometimes he’ll tap the 
