All user reviews of 5/5 for the DiMarzio DP155 The Tone Zone

The microphone is mounted in the bridge position on my Vigier Excalibur Special (table maple, alder body).
The first thing that leaps to .. ears, the sound is roaring, full overboosted.
The sound spectrum is low: 8, Middle: 8, acute: 5-6

Each note has a great definition and gouache fabulous. One has the impression that each riff is heated flame thrower!

I think this microphone is not his success to chance. Then we like it or not (if you prefer the sounds a little less smooth and more strident). The criticism can be made is the lack of acute, but it can be an advantage because it avoids tearing the ears bend on the last boxes as if they thought he was a cartridge in the eardrum.
Essentially a microphone distortion.
In short, I fell in love to the microphone.

I use the microwave for about two years but it is only recently that I really like it, I had done as it seemed unclear.
I meanwhile installed in its place a Steve's special (very good), a Fred, a SH5 and then I restored a chance to Tonezone and there I rediscovered this microphone, his generous side, full, meaty notes I am now fully satisfied.
My config: 2 doubles, a 3 position selector, for good clean sounds I put in an intermediate position with a Paf Pro (neck).
It has less bass than a Steve's special but it was his mid-bass generous than we like it or not, it enhances the tonal characteristics of a guitar and I personally find there is no shortage of acute .
This is an alnico, so hot enough.

I use the Tone Zone for ten years on a Lag Rockline Metal Master with Floyd Rose. I will not talk of the quality of this mic in the bridge position with a reputable no longer do. But I wanted to share an original couraging some exprience with this microphone. I know I'm not the only one to have done but I chopp the virus and is contagious trs trs.

I reversed the Seymour Duncan '59 in the neck position which ignores the Tone Zone. Slap! Not for the '59, I knew I would not have in the bridge position. But the Tone Zone in the neck is a killer for those who like the shred. Trs is too serious for the same rhythm when playing the E string and but excellent solo. I added a capacitor (as it was being said?) Potentiomtre the volume to filter the bass. It allows the volume down lgrement to gain clarity while keeping the extreme prsence this microphone. In his clear is I get super sound jazzy wish. For softer sounds, I splits the microphone. It's hot and Submitted. If I want more slam, I lower the volume to bring out the treble. It sounds so like a single coil of strata. Well, it sr is not versatile but I wanted a guitar that has some punch. In his fall to the ground is saturated. Hot prcis is exquisite! The serious background fuzz!

I was looking for a powerful neck pickup and warm with little sharp but many prsence. I have found. The only inconvnient excs would be low but it limits the versatility typ enough for us to worship him. Now I'll get a pickup that can do the weight and bring some versatility.

Well, to quote and summarize the previous statements, the tone area has many low and medium. What makes the sound actually very aggressive. It therefore has more character than SH4 JB. which is ideal for out of the mix and put forward your guitar during a solo. Compared to the production EMG, it is always much warmer and less "blade razoir" I used it for two years on a Telecaster deluxe. I just install one on my Start with a metal cover that grows even harmonics (and look). It Depotter, there's nothing to say. The ideal is to use it in all possible configurations: series / split / parallel,
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It is really much more versatile than a hot and sh4, (many medium, but "cold")
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more bass and a safe SH6, which saturates more because more acute.
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In point of comparison: close enough to the DP100 with a little more precision and medium.
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On a solid body too acute, it really enhanced the sound! Blues, rock of all kinds, metal, grunge and company ... even for the NUmetal.
A Micro GENIAL MoOaa, I love!

I've been using the Tone Zone for about ten years on a Lag Rockline Metal Master with Floyd Rose tremolo. I won't repeat the qualities of this pickup in bridge position: it already has a very good reputation. But I want to talk about an experience I had with this pickup. Although it seems I'm not the only one who did.

I changed the Tone Zone with a Seymour Duncan '59 that was originally mounted in neck position. It's amazing! I was not impressed by the '59 because I already knew it sounded great in bridge position. But the Tone Zone in nack position is awesome (especially if you are a shredder). The response has too many lows for rhythm parts but it is excellent for solo parts. I added a capacitor to the volume pot to filter the lows. When decreasing the volume, the sound clarity increases while the presence of the pickup is kept. For clean sounds, I get a great jazzy tone. To get a smoother sound I just split the pickup. The sound is warm and present. For more twang, I decrease the volume to emphasize the highs. The sound reminds me of a Start's single coil. It's surely not versatile, but I wanted a guitar with a lot of punch. The distortion is stunning. Warm, precise, exquisite!

I was looking for a powerful and warm neck pickup with not too many highs but a lot of presence. And I found it! The only disadvantage is the overemphasized lows that limit its versatility. Now, I'm looking for a bridge pickup to compete with it and add a bit of versatility.

Originally written by halmyar on Audiofanzine FR.