Sound & Style - November 2003

If you're a drummer in a big-time rock band you want two things (aside from the money and the women and the glory): a car that goes fast and an audio system that blasts tunes. And when money is no object, you get whatever your taste demands. For John Dolmayan, skin basher for System of a Down, that meant a Viper, and sound by Kove Audio.

The guys charged with the task of providing John with the right setup were Tony Branco, National Tech Director for Kove, who designed the system, and Dave Martinez, Eusbin Balboa and Steve Naltsas of Sound Waves in Van Nuys, CA, who installed it.

John wanted an audio system that would give him the immediacy of live music; after all, that's precisely what he's used to: stage sound. When he's not on stage then he's listening to music in professional studios during recording sessions.

For a strong front stage with good vocals Tony recommended the use of Kove's Italian-built MT40 twin driver with a custom high-pass 12dB Bessel crossover at 800Hz. They provide vocals that are very defined. To get even more definition on the high frequency and to promote more of a live sound feel a KDT tweeter was added. An L-pad was installed to reduce the output -3dB, so it wouldn't overpower the MT40 driver. An EP65 midbass driver took care of the "bass up front" with a custom low-pass 12dB Bessel crossover at 800Hz. "After testing with different crossover alignments, I settled for Bessel alignment due to less ripple at the crossover point," says Tony. The 65's were installed in the lower front of the door with their own channels off of the amp to allow for perfect crossover control. A Kove ZX504 amplifier with a built-in Aphex processor provides the power with two channels set at 500Hz, high-pass, and another two channels at 90Hz, high-pass. It's located behind the seats and between the rear speaker pods. Rear fill is handled by the KXS5.2. The swivel tweeter on these helped direct the high frequency to create ambience without distracting from the front stage. Reading the sound and sending out the signal is a Blaupunkt Miami CD72 chosen for its five-band EQ.

For the sub a custom vented box was designed and built. The ports were tuned at 55Hz and extended to 45Hz on the roll off. A 3/4-inch acrylic window allows for viewing of a single Armageddon ZM12D2. The inside curve of the box was lined with Plexi mirror and illuminated by blue neon. The sub, which fires down, was wired with the coils in series for a 4-ohm load that makes for deep bass, producing a BB4 response. The Kove ZX1000 amp is mounted between the box and rear bumper and supplies the necessary power to drive the speaker.

The most eye-catching area of the install was no simple feat. The whole rear was custom fiberglass-molded to complement the sleek look of the car. Fiberglass rear pods were made for the rear fill speakers and a Blaupunkt 10-disc changer was molded into the left of the enclosure where it would be discreet but easy to access. Topping it off is the paint job by Mark Schinder of Hudson Paint & Auto Body in Gardena, CA. He carried over the racing theme of the exterior to the fiberglass mold. Overall this is a great looking setup that is tempered by a stealthy style. More importantly it gives this rock musician the exact sound he wants; definitely SQ and seriously loud. Check his comments in the interview for confirmation.

An Interview with System of a Down's John Dolmayan

Very few music acts are able to combine their art with their politics and succeed on a commercial level. Rage Against the Machine was probably the most prominent recent example of that. Since that band's dissolution it's been all System of a Down. These guys are radical in terms of their politics and of course the music. There are more rhythm and tempo changes in a single SOAD song than there are in most bands' albums. And the guy who keeps it tight is John Dolmayan. This guy knows about fast, on the drums and off the line in his Dodge Viper.

CA&E: What are you guys getting ready to do next? JD: We have a couple of shows in England with Metallica, then we're going to start working on a new album.

CA&E: How did you come up with the band's name? JD: It was derived from a poem that our guitarist wrote called, "Victims of a Down." At the time we thought System of a Down was better because it was more obscure; it didn't necessarily mean anything, it was open to interpretation.

CA&E: How long did the band play L.A. before getting signed? JD: Before getting signed we played L.A. for almost three and a half years. The Whiskey, Roxy, Troubador, Coconut Teasers; you name it, we played it.

CA&E: What local bands influenced you guys; for instance Black Flag, Suicidal Tendencies? JD: Definitely, we were influenced by so many different kinds of music, including punk -- we're talking about real punk, not pop punk. You know, Dead Kennedys, that type of stuff. We were also influenced by Iron Maiden, Slayer -- we were influenced by a million bands.

CA&E: What do you think about rap music? It started off strong on social and political commentary and now so much of it seems to be about just commerce. JD: That's the way it works. Mass market something and every label's trying to sign something that sounds like it. Even rappers, all they talk about is making money. But I think there is some stuff out there that is a little deeper, like Common for instance. If you look for it it's out there. In any genre of music you're going to see different levels of purity. The rappers are no different. You're going to have people capitalizing on it right now and then you're going to have people who really have something to say. It's just like anything else.

CA&E: On Steal this Album you reference Noam Chomsky and his idea of manufacturing consent. What influence has he had on the politics of the guys in the band? JD: That's something you have to ask Serj. We're four guys and we all have different opinions.

CA&E: So tell us about the system in the car. JD: It's rad.

CA&E: It looks good. How does it play? JD: First of all they did an amazing job matching it to the inside of the Viper. You can't even really tell it's there. And it really kicks ass. I put on everything from rap to the first seven albums by Chicago, which are more jazz orientated. Whatever I put in it, it seems to match really well. I have a real problem with having to change the settings. This system sort of does it for you.

CA&E: What's most important to you in a system? Is it the power? JD: I don't think the wattage is necessarily the most important thing. It's got to be clear and distinct. Otherwise I wouldn't want it in my car.

CA&E: How many other vehicles do you own? JD: I have a 1971 Mustang Mach One, a V Lar Harley. And... what the hell else do I have? I have a van [laughs]; if you are a drummer you have to have a van, it's one of those rules.

CA&E: What five CDs do you have in your changer right now or what would you recommend? JD: Rush, Hemispheres; Iron Maiden, Power Slave, it's my favorite; Radio Head, OK Computer or The Bends, either way you really can't go wrong; and the second albums from The White Stripes and Dredge.

CA&E: What's the make of the drums you play? JD: I play on Tama.

CA&E: What do you look for in a drum kit? JD: Good bounce, deep tones, and compatibility with me.

CA&E: When can fans look for the follow up to Steal this Album? JD: We plan on having something else out next year.

CA&E: How did the two shows with Metallica come about? JD: We're crazy, we just throw out a tour when nobody expects it.

CA&E: I know you're busy and getting ready for shows. Thanks for the time. Thanks for keeping it real and keeping it fast. JD: Hey, there's nothing wrong with being slow and melodic, but you have explore all your emotions, not just one.