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The recording
Chop Suey! was recorded at Cello Studios in Hollywood with producer Rick Rubin and co‑producer Daron Malakian, and mixed by Andy Wallace. Malakian tracked his rhythm parts on a 1962 Gibson SG through a cranked Marshall 1959 Plexi, later blended with a Mesa/Boogie Dual/Triple Rectifier to thicken the distortion. Lead sections were captured with an Ibanez Iceman IC300 using the same signal chain. A MXR Phase 90 modulation pedal and a Boss DD‑6 digital delay were placed before the amps to add subtle movement and a short repeat. The guitars were tuned to Drop C and strung with .048–.050 gauge strings to ensure tight low‑end articulation.
Tuning Drop C (C–G–C–F–A–D)·Strings Ernie Ball Heavy Bottom/Light Top .048–.050
Signal chain
Original gear
1962 Gibson SG
Guitar
Malakian used a 1962 Gibson SG, routed through the bridge pickup, for the chugging main riff in Chop Suey!. The vintage humbuckers give a thick, aggressive low‑mid response.
Ibanez Iceman IC300
Guitar
For the solo and lead passages, Malakian switched to an Ibanez Iceman IC300, delivering a tighter high‑end attack that cuts through the layered distortion.
MXR Phase 90
Modulation
A MXR Phase 90 was placed after the guitar to add a subtle swirling texture on the clean boost portion of the tone.
Boss DD‑6
Delay
A Boss DD‑6 digital delay provided a short repeat used on the outro arpeggios, adding depth without cluttering the mix.
Marshall 1959 Plexi Super Lead
Amp
The core distortion was achieved by cranking a Marshall 1959 Plexi Super Lead, delivering aggressive mids and a tight, compressed high‑gain tone.
Mesa/Boogie Dual/Triple Rectifier
Amp
A Mesa/Boogie Dual/Triple Rectifier was layered beneath the Plexi, adding extra low‑end punch and tighter compression to the guitar tone.
Marshall 4×12 Cabinet (Celestion)
Cabinet
The Plexi fed a Marshall 4×12 cabinet loaded with Celestion speakers, delivering a focused, roaring sound that sits front‑and‑center in the mix.
Mesa/Boogie 412 Cabinet (Celestion Vintage 30)
Cabinet
The Rectifier chain was routed through a Mesa/Boogie 412 cabinet with Celestion Vintage 30 speakers, shaping the low‑frequency response and adding clarity to the heavy riffs.
Alternatives
Practical playing approach
Recreation guidance, not a claim about undocumented studio control positions.
- 1.Palm‑mute the low strings tightly to lock the rhythm
- 2.Use alternate picking for the fast arpeggiated sections
- 3.Select the bridge pickup for maximum bite
- 4.Keep the guitar tuned to Drop C and use heavy .048–.050 strings for stability
- 5.Apply slight vibrato on lead notes for added expression
Sources
Frequently asked questions
What gear was used for the Chop Suey! guitar tone?
The available research points to 1962 Gibson SG into Marshall 1959 Plexi Super Lead. The full reported signal chain and evidence links are listed on this page.
Are the original Chop Suey! amp settings documented?
Exact historical knob positions are not reliably documented for most recordings. ToneTwin does not publish generated values as studio fact; it creates playable settings only for the amp and pedals a player selects.
What tuning is Chop Suey! in?
The current research record lists Drop C (C–G–C–F–A–D). ToneTwin keeps corrections open when reliable accounts disagree.
How do I recreate the Chop Suey! tone on my own gear?
Use the reported pickup, gain character, effects and signal-chain order as the target, then translate that target to your equipment. The matcher models controls for your selected rig rather than copying undocumented studio numbers.
Researched and reviewed by the ToneTwin Research Team.
