All user reviews for the DiMarzio DP155 The Tone Zone

I acqureur port of Tone Zone 3 months ago to alleviate a severe shortage of potatoes in my pickup ... and I'm not! It's a fucking microphone that lets you combine gnique and warmth, saturation and treble that does not twist the ears, which is not earned premium abord.Je can not really tell you what he gives in his clear, given that both I play mainly distortion (the rhythmic Raining Blood sounds even better when such a. ..). But in the saturated micro is a killer that I plunged into a state close to ecstasy ... The price is more affordable, cheap and pay for micro qualit.Une precision of this, however: the Tone Zone possde a good dose of mdiums that may not please mtalleu means that looking for a bass / treble boosts.Cette Reserved (which is not really a) placing first, the DP155 is a great mic for those looking for saturation standards, versatile and musical.

Aaaahhh the tone zone ... so that means it is ultra micro terriblissime. It's a DiMarzio humbucking pickup with alnico magnets of 5. The legalization is serious 8, mids and highs ... 8 5 :-(
Clearly, this microphone gives its okay plutt warm enough, but frankly not crystalline, even Splitter. Farewell arpges beautiful. May be better for jazz, but the output level (370 mv) will be a inconvnient. Any fawn we must get the obviousness, it is not a microphone made out the best clean sounds.
In disto (rhythm) that it's a dlivre trs "full" with normment body and the potato destined me over the big rock that mtal shredder. The standards are severe. One has the impression of being a front wall bttn. The precision is good, but even when limited compared to other brand products. The palm mute jump and we feel that every note be ignited APRS t attack. Submitted harmonics are, the sounds of Paul Gilbert and Patrick RONDAT are trs REPRESENTATIVES rendering the tone zone.
Solo ... I can go to be an alien to the views of praise you read the tone zone, but I found the "lack" of acute trsgnant silent. While some believe that this drop in the treble gives the characters, I think it's impractical. The notes are really hard to make out properly, notament round-trip and legato. If you are fans of your solo techniques like me, it's not the right numro I think. What has always tonn is that when it costs the tone zone but does not feel it when a play with that has become dlicat. It gives a weird sensation. Goodbye Submitted acute and screaming. You need to have an amp trs provided acute stage a.
I "have done" two times with the tone zone. A FIRST TIME a year have APRS beginners guitar. The second time c'tait there a year and a half. M'tais I say "like after 12 years of guitar, I can be better apprcierai, gots my will can be change" ... well I sold both times.
Exprience with It was necessary that I will achte twice to realize that there was nothing, we are not at all made for each other .

I use this mic for almost a year, it is mounted on an easel in RG570EX ibanez.
I do not have much experience in various types of microphones because I has only one skyscraper, so I'll compare the encien, an Ibanez V7 V8 or I do not know.
Well the first thing that caught my eye is in its precision, both in the serious than acute, such as tremolos with palm mute on the E ring much more serious and cut net is less swimming in the soup this level. same for high-speed solos in notes semplent more cuts and sharp.
Being a metal, I like the big sound, but I egallement to ring in the treble, and I really think this microphone for ca is ideal: it has a little bump in the mid, which gives a good touch agressivit of the power chords (the sound is "rapper" was certainly the impression his agreement to play in the foam) and therefore a good place for the same precision for large rhythmic, and therefore clearly apparent acute versatile this level.
Its clear it is done well, but right after it depends on the equalization.
Oh, and more so the microphone is splittable for a good clear sound.
In short it is a micro hot and very aggressive in parallel. A very good investment.

So then, my microphone is preferred but we will try to remain objective.

The Tone Zone is what? According to legend already he was originally commissioned by a certain EVH (Eddie Van Hallen for short) which was fed to burn out his fingers trampas PAFs in paraffin, this microphone is ... ameilioré a PAF, and yes even a (Satriani has no monopoly of Paf retouched).
It has been boosted in the bass and meds, as well as the output level.

That's the legend, the facts now.
This microphone is known as a micro patator Lots of bass that comes out a little wrong elsewhere. In fact it is doing very well also clear ... if the violin and the rest of the electronics allow it (is not it? a guitar would be a set of things that vibrate together in harmony? you do not say)
What I have found on my Gibson Les Paul Classic:
- Present but very low just drooling
- The meds powerful and well-defined
- An output level that will more than respectable cruncher an easy tube amp while playing the volume and attack.
- Treble a bit weak people, but offset by the bridge position.

The big big thing about this mic is a safe and dynamic ENORMEEEEUUUUHHHH, JB is a laminate, the 500T suddenly seems cold and stiff, super distortion screaming something that braille .... Sings every note, harmonics stand alone.

It replaced a Gibson 500T (excélentissime also micro) and from a slight lack of output level and bass a little less accurate, it is very close to it. So everything has its place on a Gibson, do not bother to fear the soup low, but it will still be the proper position in height (but you pay all your guitars from time to time, right?) .

In short, if you are looking for a microphone who can be both subtle and powerful without going overboard, which can increase the level of a stringed bass that is missing, I suggest you try it
For if you are against a hooked end to the stratum and on TV, forget about its existence until

I used this mic several years.

It possde normment bass, good midrange trs, trs well Submitted and little treble. It is far from aggressive as a microphone HS-6 example. It gives a big sound plutt clean. It is really trs trs prcis, compress enough (but not too!) And the grain is very modern and fairly smooth talking rendering "Hi-Fi". Some can see a perfect sound, the other a cold lack of life, or even charming personality. Sr is that it is not "rock'n'roll"!
With its standard output level, it is clearly orient mtal modern.
The palm-mute and stand are percuttant trs trs well.

I did not notice because it is too "bright" (light) for serious tuning (If I'm in now), and I think it sounds a bit soft. On top of that I do not like the grain too smooth and perfect.

For me, DiMarzio has been innovating and our answer to the expectations of a lot of people with this microphone, if that is what we seek, possde an excellent quality price.
But it can be used to fawn on larger guitars hardwood as frne and stocky, which show a lot of treble and little bass to balance it all.
It is also intended to modern shredders because lgato leave it alone and lack of personality made him one allows enough "neutral" after all.

Excellent micro, but to choose according to the guitar and the style that we develop. I'm a fan of Di Marzio, accuracy, their alleged lack of personality that finally let your sound out of the instrument. Of course there are always caveats (yes, that's not music?). For metal rhythm, do not worry. To think outside the box with more polyavalence and especially for the soloists, turn up the guitars on ash or linden (basswood). Question her, it is not as limited as you think. Its only limitation is the guitar itself. I am not convinced by use of gibson, mahogany but is not insurmountable if one has a handle threaded maple key (indifferent), or an easel. on the other hand, alder does not favor for my taste (the microphone eq and wood does not complete but rather is increasing too in the mid and lower medium). Perhaps with a floyd and a maple fingerboard ...

In rhythm, it is wickedly efficient, more rock than metal for that matter. For clean sounds, the lord and some engineers have laid the volume knob ... If your religion does not forbid it, use you, it's worth it. As for the solos (depending on type of wood and bridge) it's more efficient, very compelling rock and Rondat convinced me to shred it also does so (even plugged directly into a bandit 112, n ' did not look uncomfortable ... lol!)

In summary, very good microphone, with the punch, but not suitable for all guitars.

I use it for about 6 months on my Ibanez MC300 Musician. A skyscraper in mahogany with a handle through Saddle.
With this microphone so I harmonics trs trs that take a long time (like many 25seconde, without cheating with Feedback ...), a full-well distortion of its kind mastoc cinderblock. Prcis with all frquences he ct an implacable, trs fair enough, sharp may be a little cold, a little dark. It sends it's all wood, but it does it well. He possde high dynamics and it is certainly possible to spend a clean crunch well saturated with just the shade to mdiator, note however, if the tone volume is satisfactory, there is almost no diffrence between a stamp that could be her sweet trs crmeux its strong and it could be more slamming, it happens all the time its just the same crmeux. It is not great in fact alive.
For large rhythmic rock, hard and mtal is nickel. I wanted a microwave with a lot of potatoes in distortion and trs prcis is Winning Good I realize now that I prfrer sound a bit more rock'n'roll , a little singing, a little more inspiring than this block, l but these are my tastes, I have the wrong microphone.
It gives a nice clean plutt in single, not funky but quite harmonious. Kind of quiet and nice, there is some nuance in the tone, but it's still a. Double acute lack of it on my guitar and it is obvious for someone like me who deuxime his guitar is a Start. I am forced to compromise with my amp if I want to keep the attack and the prsence tonezone stratum without being too garish carrment during the same concert.
Well it's a good mic for large distortion that not all slime which is hard rock and mtal to sound a little lightweight is better to take something else.

It's a good mic so I could have 10. I do not like it then I could have 4 ... I put 7 / 10 because in absolute terms it is doing its job as well prcise rhythm heavy for me even if it lacks sharp and feeling and so versatile.

It might be better on a guitar with wood more acute ... As I had Norton a run I'm the change and found a sound that is much closer to what I wanted. These two pickups are similar not bad, but Norton is a bit more singing, almost funky as a single and more connections with my Start. So I put my neck tone area (yes I know strange) and whether duplicate this position is too powerful carrment it offers a single crmeux his wish and trs trs pr cis which is often the default position handle which tend to promote the sound drooling ... Good not bad but not great, I prferais the Norton ...

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.

- Submitted gnralement as the holy grail of bridge pickups, personally I dtest (the tone zone and the d-sonic pickups are the class I dernire position relative to the EMG 85, 60, 81, SA, DiMarzio evolution, mgadrive, steve's special, virtual PAF, Fred, air norton, and Seymour Duncan JB)
The zone has a tone prcis its modern but really too aggressive for me, its area of ​​prdilection is clearly chords and palm mute
It is often said that this would be the microphone closest to the microphones of a custom which quipent MODELS Van Halen's guitar (I forget which) I could often see posts trs of Internet forums, which had purchased a tone zone thought to be an equivalent special microphones van halen, and the resulting extremely taient rsultat. Now all dpend also the hardware and gots each.

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,
<ul>
It is really much more versatile than a hot and sh4, (many medium, but "cold")
</ul>
<ul>
more bass and a safe SH6, which saturates more because more acute.
</ul>
<ul>
In point of comparison: close enough to the DP100 with a little more precision and medium.
</ul>
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!