1388 Richmond Terrace . P.O. Box 100387 . Staten Island ...jedistar.com/pdf/dimarzio/Dimarzio_2005_Catalog.pdf · players as varied as Ace Frehley, Al Di Meola and Paul Gilbert

Photos Copyright © 2005 Larry DiMarzio except Joe Satriani (p7) Copyright © 2005 Neil Zlozower and Brad Delson (p9) Copyright © 2005 Chris Cuffaro. All rights reserved. Art Direction by Gina DiMarzio. Photo Direction by Larry DiMarzio. Additional Design Concept and Production by Jolene Morice. Text by Steve Blucher. Thanks to Jeff Tucker of Earth Spectrum. Copyright © 2005 DiMarzio, Inc. All rights

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The balance of tones is classic—thick, boosted mids, big lows and fat highs. This is the sound you’ve heard for over three decades on platinum records, from players as varied as Ace Frehley, Al Di Meola and Paul Gilbert. It’s also versatile: 4-conductor wiring allows instant access to Strat®-like split and series-parallel modes. Discover what thousands of great players know: the Super Distortion® is the best all ’round high-power pickup ever made.

Dual Sound®DP101 & DP101FTake a Super Distortion®, include a push-pull pot for series-parallel or single-coil operation and you have the Dual Sound®. The extra flexibility puts cleaner, crisp tone choices at your control. Lighten up on the lead tone in parallel operation, then roar back in with the standard series position. Use the single-coil mode along with your neck or middle pickup for chopping rhythm tones. If you need brighter, more transparent sounds from your bridge or neck pickup without sacrificing wide, singing crunch, the Dual Sound® nicely fills the bill.

X2N®DP102The X2N® is a “take-no-prisoners, in-your-face” humbucker. Twin, wide-bar pole pieces give the X2N® a nasty, dangerous look—and rightly so. Our highest gain pickup was created to push tube amps into total overdrive. Put one in the bridge position for a powerful jolt to the voltage the amp sees from your guitar. The result is a sound that can only be described as blistering. The magnetic field of the X2N® is very powerful and focused. It captures the character of whichever guitar it’s in. If your guitar is warm sounding, the X2N® will act like a sledgehammer. A bright-sounding guitar will go into total scream mode.

And the X2N® still has versatility: single-coil and

series-parallel modes are particularly effective,

because the X2N® pickup’s power gives these sounds more authority

than is possible with weaker humbuckers.

Super Distortion®DP100 & DP100FThis pickup started a sound revolution. Replacement pickups simply didn’t exist before the invention of the Super Distortion® in the early Seventies. The Super Distortion® (and its original 3-conductor version, the Dual Sound®) was the first pickup specifically designed to kick a tube amp into total overdrive, and is still the standard by which all other high-output pickups are measured. The Super Distortion® has a perfect blend of power and tone: both single-notes and chords jump out of the amp and fill the room (or the track) with a wall of sound.

Super 2™DP104 & DP104FIf you love the sound of a Super Distortion® in the bridge and you like hot neck pickups

too, try a Super 2™. The Super 2™ takes the

classic Super Distortion® sound and slides the EQ up in favor of

the high-end, so its brighter top and lighter bottom work to balance out the darker, overtone-heavy information up by the fingerboard. The Super 2™ is just the pickup to clean up the overdrive sound of a mud-heavy 24¾’’ scale, two-humbucker guitar or to add snap to a dark sounding 25½” bolt-on. It works great in the bridge or the neck.

Evolution®DP158 & DP158F NECKDP159 & DP159F BRIDGEThe Evolution® neck and bridge hum-buckers are the result of two years of research to come up with the right sound for a very demanding player: Steve Vai and his Ibanez® Jems. Both pickups are designed for maximum impact and power. The neck pickup is fat, punchy and loud. The bridge pickup is tight, aggressive and louder. Both pickups have our patented dual-resonance configuration to reproduce more harmonic overtones than conventional humbuckers. Evolution® pickups are not polite-sounding, and they’re not for the inexperienced, but—if you’ve got the chops and a hot amp—your sound will burn. The Evolution® pickups were originally designed with live gigs in mind, but they have so much presence and definition that they’re great recording pickups, too; they slice right through even the densest mix.

Steve’s Special™DP161 & DP161FSteve’s Special™ is a non-traditional approach to high-output bridge humbucking pickup design. Hot humbuckers usually concentrate most

to qualify as a high-output pickup, but it has a wider dynamic range—hard picking will produce a lot of power, and softer picking will be much cleaner and quieter. It’s got tremendous bass and low-mid response to reinforce the bottom end and make the overall sound bigger. The highest single notes have depth, and chords sound huge. Patented dual-resonance coils reproduce more overtones than you’d expect from such a fat-sounding pickup. It makes a great match with an Air Norton™, PAF Joe™ or PAF Pro®, and split-coil mode produces an excellent single-coil sound as well.

D Sonic™DP207 & DP207FOur first heavy humbucker of the 21st

century, the D Sonic™ is a high-output bridge humbucker designed for

the extended low end and heavy chords that dropped tuning delivers, with serious

treble response for single-note solos and standard tuning. The D Sonic™ is

more than just a one-sound pickup, too. In addition to

the standard series humbucking sound, our patented design utilizes

4-conductor wiring to access two different single-coil sounds plus parallel humbucking mode, for three additional sounds that are distinctive and versatile.

Evo 2™DP215 & DP215FThe original Evolution® bridge model did exactly what Steve Vai wanted it to do: kick butt and produce serious scream. Then he wanted something a little more complex—the same basic tone with increased headroom and dynamics, so that the sound kills on 10 and cleans up when the volume is rolled down. With a little less power than the original Evolution®, Evo 2™ balances perfectly with the Evolution® neck model and performs equally well with high gain and vintage amps.

of the pickup’s power in a narrow frequency bandwidth for maximum impact. Using our patented dual-resonance design, Steve’s Special™ takes the opposite path, spreading the sound over a broad range. Bass and treble frequencies are boosted while the mids are pulled back, so the pickup’s power doesn’t kick a high-gain amp into overdrive as easily. This makes Steve’s Special™ a good choice for both fast soloing and clean chords, because individual notes won’t smear together with heavy overdrive, and clean sounds have an almost “hi-fi” quality.

The Breed™DP165 & DP165F NECKDP166 & DP166F BRIDGEIf you’ve seen Steve Vai play in the last few years, you may have seen him playing an Ibanez® Jem guitar with the word “Pogo” taped on the face. Steve wanted one of his instruments to have a fat, classic humbucker sound to contrast with the hotter, screaming Evolution®-equipped guitars. These are the pickups we developed for him. The neck pickup is a bit louder and fatter-sounding than the PAF Pro® pickups that Steve used on his earliest Jems. The bridge pickup is not as hot as the Evolution®, but it’s got a warm and punchy mid-range coupled with a fat low end that rolls off before it can get muddy. Harmonics are easy to get, and the 4-conductor wiring enables cool “notch tone” coil-splitting.

The Tone Zone®DP155 & DP155FHave you ever heard a bridge pickup that made a guitar sound like a giant mosquito attack? If you’ve run into this problem, The Tone Zone® is the solution. The Tone Zone® is hot enough

Strat® is a registered trademark of Fender Musical Corp., with which DiMarzio, Inc. is not affiliated.

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Bluesbucker®DP163 & DP163F And now for something completely different: the Bluesbucker® looks like a standard humbucker, but sounds like a P90 and cancels 60-cycle hum as effectively as the average humbucker. This means any guitar with standard size humbuckers can now have the sound of P90s without altering the guitar in any way and without noise. Patented Virtual Vintage® and Airbucker™ technology let the Bluesbucker® “see” a narrow string window like a true single-coil, making it extremely sensitive to playing dynamics. When a pair of these pickups are on together, they achieve the open, slightly hollow sound that two single-coils produce. Splitting the pickup produces a sound similar to that of a Strat® pickup, with very little drop in output.

Air Classic™DP190 & DP190F NECKDP191 & DP191F BRIDGE We love the sound of late 1950s humbuckers, but we didn’t want to simply imitate them by using Alnico 2 or “aged” Alnico 5 magnets. Airbucker™ technology was created to capture all of the best sonic qualities of vintage humbuckers while avoiding the technical problems. The Air Classic™ has the same sweet sound as a classic humbucker, but Airbucker™ technology permits us to use a more reliable full-strength Alnico 5 magnet and still reduce string-pull to increase sustain and sensitivity. The result is an almost vocal, three-dimensional sound that jumps off the string faster and stays true as it sustains. The sense of touch and control this provides will offer you an unequalled ability to create your own sound.

PAF Classic™DP194 & DP194F NECKDP195 & DP195F BRIDGEPickup covers are back! They protect pickups from damage and provide extra shielding against noise. There is one drawback: since all metal covers cause a loss of presence, some of the attack is gone. Using our patented Airbucker™ technology, we’ve created a pickup that sounds like the best humbuckers of the 50s without any compromise in sound. Like the Air Classic™, the tone is subtle and complex. We wax-dip the PAF Classic™ twice (the second time with the cover installed) to eliminate microphonic noise, and 4-conductor cable allows parallel and coil-splitting options.

PAF®DP103 & DP103F Have you ever wondered what a Fifties humbucker sounded like when it was new, before the magnet weakened and beer got poured on it? This is the sound: no gimmicks, just clean, open tone with enough top end for sparkle and low end for warmth. The best word for it is “balanced”. It’s loud enough in the neck position to pair with hotter bridge pickups like the Super Distortion® (a classic combination), and it’s a neat bridgepickup to go with neck and middle single-coils. Like all of our humbuckers, the PAF® is wax-dipped in a custom formula to eliminate squeal and microphonics (something we didn’t like in the Fifties pickups), and it has 4-conductor cable for split and series-parallel wiring.

The Humbucker from Hell®DP156 & DP156F Because a conventional humbucker senses the string at two different places, it cancels some frequencies along with the hum. What if there were a humbucker that cancelled fewer frequencies? It would be brighter and cleaner: almost glassy-sounding. In other words, it would sound a lot like a Strat® pickup, but with about the same power as a PAF®. We created The Humbucker From Hell® primarily as a neck pickup. You won’t believe how much it will open up the sound in the neck position of a Les Paul®, and it has an almost acoustic quality in the neck spot of a bolt-on guitar. Why is it called The Humbucker From Hell®? Try it in the bridge position with a bright amp—but put in your earplugs first, and don’t say you weren’t warned.

EJ Custom™DP211 & DP211F NECKDP212 & DP212F BRIDGEAlthough Eric Johnson is best known as a Strat® player, he has always played humbucker-equipped guitars as well. After getting a new Les Paul® 1959 re-issue, Eric asked us if it could be made to sound like an old Gretsch® Country Gentleman guitar. We said, “No problem!” The pickups we designed are exact replacements for standard, full-size humbuckers. They’re bright and have great presence without sounding thin. When Eric tried them, he said they were almost as clear-sounding as Strat® pickups. He was surprised at how well they sounded with heavy distortion, because no matter how overdriven the sound, it did not become muddy. The EJ Custom™ is available with exposed coils in all standard DiMarzio® colors and plated or unplated nickel covers at additional cost.

Virtual Hot PAF™DP214 & DP214FFor the vintage humbucker player who wants more: more power, more attack, more punch. The Virtual PAF™ proved that a pickup could be sweet-sounding and gritty at the same time. The Virtual Hot PAF™ is less about sweet and more about attitude. Play it hard and the sound jumps out of the speaker, but the singing quality of the best vintage humbuckers is still there, and coil-splitting works really well, too.

Virtual PAF™DP196 & DP196F NECKDP197 & DP197F BRIDGEIn the past, there were no high-gain amps, no home recording studios, no computer monitors. Single-coil pickups were okay, and so were unpotted humbuckers. Who knew? Times have changed, but the clean, bright-yet-warm tone of the best vintage pickups still sets the standard for electric guitar sound. The Virtual PAF™ captures the finest qualities of 50s and early 60s humbuckers to create a great sound. Patented Airbucker™ and Virtual Vintage® technology permit the use of an Alnico 5 magnet to generate the same low string-pull that Alnico 2 or 3 produces, and combine two of the most sought-after tonal characteristics: low note clarity and high note warmth. The neck model has a pure, bell-tone chime and the Bridge model has a thicker, “woody” sound. The Virtual PAF™ comes with 4-conductor cable.

Strat® and Gretsch® registered trademarks of Fender Musical Corp., with which DiMarzio, Inc. is not affiliated.Les Paul® is a registered trademark of Gibson Guitar Corp., with which DiMarzio, Inc. is not affiliated.

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FRED®DP153 & DP153F We designed FRED® to bump the mid-range of the PAF Pro® EQ up a notch, but in the process, something unusual happened. Harmonics that humbuckers usually don’t reproduce started popping out, particularly with overdriven amps and distortion units. FRED® has about the same power as the PAF Pro®, but the unusual overtones create a sound with more crank and growl. Joe Satriani was the first player to discover and exploitthese qualities, and it’s been his main bridge pickup ever since. FRED® is really sensitive to changes in pick attack and control settings, and its distinctive tone makes a great recorded sound for both penetrating solos and tight rhythm tracks.

Norton®DP160 & DP160F The sound of a Norton® is right between FRED® and The Tone Zone®. It’s got some FRED-like harmonic overtones that can only be described as nasty, with more of the power and mid-range of the heavyweight Tone Zone®. The same patented dual-resonance design used in FRED® and The Tone Zone® delivers a sound that’s hotter and “bigger” than any vintage model, but not as loud as a distortion-class humbucker. Norton® might be our most versatile bridge pickup. Combine it with a wide choice of neck pickups like the Air Classic™, PAF®, PAF Pro® and Air Norton™.

Air Zone™DP192 & DP192F The best way to describe the Air Zone™ is to say it’s a vintage version of The Tone Zone®. It’s got the same low string-pull as our other Airbuckers™ for singing sustain, plus it has the big bass response and cool harmonics of The Tone Zone®, with extra sensitivity and control. It’s a great match for very hot amps, allowing the player to take full advantage of massive preamp gain without turning the sound to mud or fuzzy noise. It’s also a great neck pickup for jazz players who need to get the hollow-body archtop sound from a solid body, and it offers exceptionally good split and series-parallel capability.

Air Norton™DP193 & DP193FThe Air Norton™ started out simply to be the Airbucker™ version of the Norton®. We thought it would make a distinctive-sounding bridge pickup with high-gain amps, but we soon discovered that it’s a radically neat neck pickup, too. The tone is deep and warm, but not muddy. It’s hot, but not distorted. It’s even got cool harmonics, which are really unusual for a neck humbucker. The patented Air Norton™ magnetic structure reduces string-pull, so sustain is improved; and pick attack and dynamics are tremendously controllable and expressive. Combine the Air Norton™ with an Air Zone™, The Tone Zone® or Steve’s Special™ in the bridge position for a perfect blend of power and tone, or use an Air Norton™ in the bridge position with an Air Classic™ bridge model in the neck position for a distinctive medium-output blues-rock sound.

PAF Pro®DP151 & DP151F The PAF Pro® was created when chops-intensive playing was first starting to happen, and high-gain amps and rack systems were getting popular. A pickup was needed that combined a lot of presence and “cut” with an open-sounding PAF® vibe. The transparency of its sound lets the PAF Pro® slice through heavy processing, where darker-sounding pickups get lost in the mud of the effects chain. Low notes have both snap and chunk, and there is a spike in the mid-range that gives the pickup a subtle “aw” vowel sound, like a wah-wah pedal stopped in the middle. Treble response is tweaked, so high notes stand out without getting brittle. The PAF Pro® makes an outstanding neck pickup in almost any guitar, and it’s an exceptional bridge pickup when high output isn’t required.

PAF Joe™DP213 & DP213FThe PAF Joe™ is the new neck pickup we developed for Joe Satriani. Joe wanted a neck position humbucker that combined the best qualities of the PAF Pro® with those of a late 50s Gibson® humbucker. Joe describes this tone as being “tubular”. Through the use of Virtual Vintage® technology, clear-sounding low frequencies are blended with warm-sounding mids and high frequencies, which makes the PAF Joe™ equallygood for chords and single notes.Joe first used it throughout the2003 G3 tour.

Strat® is a registered trademark of Fender Musical Corp., with which DiMarzio, Inc. is not affiliated.Gibson® is a registered trademark of Gibson Guitar Corp., with which DiMarzio, Inc. is not affiliated.

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DLX Plus™ DP162 NECK & DP154 BRIDGE When DiMarzio® first decided to

introduce a humbucking replacement for the

“soapbar” and mini-humbucker, we found that many players wanted a pickup

with more power and definition. We wanted to

preserve some of the clean and open character of the

original soapbar, so we reduced the DLX Plus’s mids a little while

making the lows tight and punchy and the highs strong and defined.

The result is that the DLX Plus™ has power, but it’s not muddy-sounding.

The neck model has almost as much power as the bridge model, with a leaner bass response so low notes sound more defined. Both come with 4-conductor cable for coil-splitting and parallel options.

DiMarzio Soapbar™ DP167S Soapbar & DP167D Dog-earWhy do so many players love the old “soapbar” pickup? Probably because it’s the friendliest-sounding single-coil ever. High notes are always fat, with just enough bite to cut through the mix. Low notes are bright, but not thin, and the tone stays even—all the way up the neck. Our version of this classic pickup also punches up the mids and tightens up the lows. The DiMarzio Soapbar™ comes in “soapbar” and “dog-ear” versions, cover included.

Virtual P90™ DP169The original single-coil “soapbar” design had a special sound; low notes were solid and not tubby—they had an almost “piano” tone quality—while high notes were fat all the way up the neck. We’ve always thought this was a devastating combination, and we naturally wanted

to reproduce this sound without 60-cycle hum. In the end, we found the best approach was to use our patented Virtual Vintage® technology to create the Virtual P90™. The two coils are tuned to different frequency ranges and output voltages, so tone and balance can be tuned by adjusting pole piece heights. It’s almost the same effect as adjustable high-fidelity speaker crossovers.

P90 Super Distortion™DP209A Super Distortion® in a P90 cover? Cool! DiMarzio’s Super Distortion® has been the industry standard since its introduction in the early 70s. The new P90 Super Distortion™ is our highest-output humbucking “soapbar” replacement, and it gives players with guitars routed for P90-style pickups the ability to upgrade their pickups without any modification to the guitar. Like the original Super Distortion®, it has 12 adjustable pole pieces and four-conductor wiring for split and parallel humbucking modes.

The Tone Zone P90™DP210The Tone Zone P90™ is a high-output, humbucking soapbar pickup with the same sound and power as The Tone Zone® humbucker. Because of their plastic cover, “soapbar” pickups usually can’t be adjusted quite as close to the strings as standard humbuckers, and com-pared to full-size humbuckers, soapbars have a slightly narrower magnetic window to “see” the strings. We’ve taken both factors into account by slightly increasing power and broadening the magnetic field around the coils to allow the Tone Zone P90™ to sound as great as the original Tone Zone®. Designed for the bridge position, it comes with 4-conductor wiring enabling series-parallel humbucking or split-coil modes.

DiMarzio Minibucker™ DP168The classic miniature humbucker had a sound that was a cross between a vintage single-coil and a PAF®. Not a hot pickup, the mini substituted articulation and openness for power. We’ve retained these qualities and utilized our patented dual resonance design to add even more clarity and musical character, and we dip the DiMarzio Minibucker™ in wax after the cover has been installed to eliminate microphonic squealing. We’ve also included 4-conductor wiring for greater sound options.

DiMarzio® Hot Minibucker™DP198One reason the first mini-humbuckers were relatively quiet pickups was the small space inside the cover for the coils and magnet. Louder mini-buckers can sound muddy, as if the sound itself were crowded inside the pickup. We wanted a hotter, thicker sound, but we also wanted the pickup to “speak” clearly. The DiMarzio® Hot Minibucker™ accomplishes this. It’s both very warm and open-sounding, and 4-conductor wiring offers effective split and dual-sound options. Like all of our covered pickups, the DiMarzio® Hot Minibucker™ is wax potted both before and after cover installation to eliminate microphonic squeal.

Blaze™ Neck ModelDP700This is the model originally designed for the neck position of the Ibanez® Universe. The neck position needed to be warm, but not too fat (nobody wants the low “B” sounding like a tuba, right?), so we scooped out some of the mids to brighten up the low notes and we kept the power down to a reasonable level to avoid unnecessary sludge. You can get everything from a good jazz sound with a clean amp to a wall-of-sound with heavy overdrive. Many players have discovered this is also a very good bridge pickup when playing with a serious amount of distortion—power chords retain more openness, and single notes have a lot of clarity.

Blaze™ Bridge ModelDP702The Blaze™ Bridge Model bears a strong resemblance to the Steve’s Special™. The mids are scooped out, and both treble

and bass are boosted. The hot bass response gives the

seventh string a lot of impact,

while opening up the midrange keeps

it from getting muddy. This enables the Blaze™

Bridge Model to handle both fast soloing and clean chords,

because individual notes won’t smear together with heavy overdrive, and clean

sounds have an almost “hi-fi” quality.

Blaze™ Custom BridgeDP703The Blaze™ Bridge Model has a very distinct “clean overdrive” sound. The Blaze™ Custom Bridge was built for 7-string players who prefer a hotter bridge pickup with more mid-range. Because more power is focussed in the middle of the guitar’s range, the Blaze™ Custom Bridge will overdrive an amp more easily and the sound will be fatter. We still didn’t want the seventh string to get muddy, so we used

Air Norton 7™DP793The 6-string version of the Air Norton™ has proven to be an effective, versatile pickup in both neck and bridge positions, and the Air Norton 7™ extends the same qualities to 7-string guitars. In the neck position, the sound is warm and well-defined—equally useful with clean or overdriven amps. In the bridge position, the sound is very solid and harmonically rich. In overdrive mode, it has a very distinctive voice that has both vintage and modern qualities. The Air Norton 7™ comes with 4-conductor cable.

our dual-resonancedesign to add somecrispness to the low end.You’ll get more attack andhotter harmonic overtones, too.

Evolution 7™DP704The basic characteristics of the 6-string Evolution® bridge model sound like a perfect description for a 7-string lead pickup: power, attack and presence. Com-bining the basic Evolution® design with Virtual Vintage® technology results in a 7-string pickup possessing crunching lows and intense highs. The output voltage of the Evolution 7™ is concentrated towards the upper mids and treble, so there’s a lot of cutting power, and the low end stays hot and clear.

The Tone Zone 7™DP755The Tone Zone 7™ is not merely an adaptation of the original Tone Zone®, but a new design from the ground up for 7-string guitars. It incorporates lower magnet-pull and coils specifically calibrated to reproduce the full impact of the low “B” string without any loss of tone quality or fidelity. The Tone Zone 7™ comes with 4-conductor cable.

PAF 7™DP759As the popularity of 7-string guitars has grown, so has the demand for a clean-sounding, lower-output pickup that performs like the classic humbuckers of the late 50s. Far from being a mod-ification to a 6-string design, the PAF 7™ is specifically designed for 7-string guitars, and incor-porates some of the same technology employed in the Virtual Vintage® pickup series to produce a sound that’s both clean and open on the low notes and warm and rounded on the highs. The PAF 7™ comes with 4-conductor cable.


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Virtual Vintage® Heavy BluesDP403The Virtual Vintage® Heavy Blues is louder and fatter than your average single-coil: just what you need to add some kick and warmth to the bridge position of a newer maple neck Strat®. The highs have a round, rather than glassy Strat® tone, but there’s still real Strat® “cut” with a wide-open amp and/or floor pedals. It’s also a good neck pickup for jazz.

Virtual Vintage® SoloDP404Although the Virtual Vintage® Solo is our hottest Virtual Vintage® model, it was designed to be compatible with any of the other Virtual Vintage® pickups. The top end is very smooth, and there’s a lot of mid-range punch, more like a P90 than an overwound Strat®. A great bridge pickup with a Tubescreamer® and a hot amp, or a buttery-smooth neck pickup for jazz.

Virtual Vintage® ’54DP405 NECK & DP406 BRIDGEEarly Fifties Strat® pickups had a bell-like tone and a little bit of compression with hard picking—something like the feel of an amp with a tube rectifier. The Virtual Vintage® ’54 has this quality too, plus a woody, complex vibe that goes really well with swamp ash bodies and maple fingerboards. Two ’54s in the neck and middle make a great match with a hotter bridge pickup like the Virtual Vintage® Heavy Blues or Virtual Vintage® Solo.

VirtuAL 2® NeckDP407We call the DP407 a neck pickup, but this is our basic workhorse VirtuAL 2® model. It’s got everything a great Strat® pickup should have: singing highs, bright punchy lows and a sensation of “air” in the sound that lets you know your strings are really vibrating. It’s a great neck or middle pickup for any Strat®, and goes well in the bridge position of warmer-sounding guitars with alder bodies and rosewood fingerboards. Try this in the bridge position with a

Virtual Vintage® 2.1 (neck) and a Virtual Vintage® 2.2 (middle), and you’ve got a perfectly balanced, noise-free classic set.

VirtuAL 2® MiddleDP408The sound of the VirtuAL® 2 Middle bears a strong resemblance to the Virtual Vintage® ’54. It’s very balanced and even over a wide frequency range. (Think smooth high strings and clean lows.) This is a good prescription for a versatile middle pickup, and it’s also a really sweet neck pickup, particularly in bright-sounding maple neck guitars.

VirtuAL 2® BridgeDP409If you’ve heard the cliché that Alnico 2 means warm, soft sound, prepare to be surprised. This is not a polite pickup, and the closer it’s adjusted to the strings, the more raw it gets. In particular, the Alnico 2 magnetic field opens up all of the attack and definition of the low strings. If a fat bridge position pickup is what you want, try the Virtual Vintage® Solo, but if you want an in-your-face-and-proud-of-it sound, the VirtuAl 2® Bridge is the top pick.

Virtual Vintage® 2.2DP410We know some great players who own Strats® from the 50s and 60s. None of them would dream of changing the original pickups, but they still say they wish the bridge pickup were a little louder and warmer. That’s the point of the Virtual Vintage® 2.2. It’s the perfect match for a pair of Virtual Vintage® 2.1s in the neck and middle positions. It’s also

Virtual Vintage® 2.1DP401It’s a rare and fortunate player who’s had the opportunity to play a great 50s or early 60s Strat®. That’s the player we had in mind with the Virtual Vintage® 2.1, because that’s the player who really knows if a pickup measures up to vintage standards. In every way, the DP401 will stand the comparison. It even has resistance, impedance and inductance specs like the best 50s pickups, and it was designed to work with the original 250K controls. Obviously we don’t expect a player to take the original pickups out of a 50s guitar, but—if you’ve got a great Strat® from any era and want to experience the real deal (with no noise and less string pull, from special Alnico 2 magnets)—the Virtual Vintage® 2.1 is your pickup.

Virtual Vintage® BluesDP402What do you need in order to play blues with a Strat®? The Virtual Vintage® Blues has more power and warmth than a typical single-coil. You can really hear these qualities when you’re playing the Virtual Vintage® Blues. It withstands hard picking and opens up when you’re playing with an overdriven amp. Instead of shrinking away, the sound jumps out of the speakers. These qualities are really useful for getting a fat neck position sound, but they’re outstanding for the bridge position—particularly if you have a thin-sounding guitar or use light-gauge strings. It’s a tough-sounding bridge pickup with warmer guitars, and makes a good neck and middle choice to match with a full-size bridge humbucker. As the rest of the Virtual Vintage® family, it’s dead quiet; there’s practically no hum at all.

a great neck and middle pickup itself for a brighter-sounding guitar with a swamp ash body and maple neck, where it can be combined with any of the other Virtual Vintage® models in the bridge position.

Virtual Vintage® Solo ProDP414The concept for the Virtual Vintage® Solo Pro is a Strat® replacement that cancels hum and performs like a P90. We turned it up a notch with Alnico 2 magnets for more sustain and a warm, woody tone that’s a cross between a violin and a human voice. Big and round-toned with a clean setting, the Virtual Vintage® Solo Pro stays warm with overdrive, and produces great harmonics with high gain amps.

Pre B-1™DP112There are two kinds of Tele® players: country pickers for whom twang is king (we don’t make Twang King™ pickups for nothing, right?), and players of blues and rock who need less high-end snap and more low-end muscle. We’re not talking imitation humbucker-sound here. The Pre B-1™ maintains a lot of the basic character of the Tele® bridge position, but the sound is bigger. It can still cut through a mix, but it will fill more space, as well. It also has about 25% more power than a stock Tele® bridge pickup. That means thicker overdrive and more sustain from your favorite tube amp.

Twang King™DP172 NECK & DP173 BRIDGEWhen we decided to go for the vintage Tele® sound, we knew we had to do more than just copy a forty-year-old

power is concentrated in the mids and low end for a bigger sound with more crunch. It shares the same side-by-side coils and twin-blade construction as the Fast Track T™, so there are no string alignment or magnet-pull problems. And of course, there’s no noise.

Virtual T™DP411 NECK & DP412 BRIDGEWhen we introduced the first Virtual Vintage® pickups for Strat® guitars, Telecaster® players began asking for them, too. We feel the Virtual T™ pickups compare brilliantly to the best old Tele® pickups. The neck model Virtual T™ overcomes the complaint many Tele® players have about muffled sound in the neck position. It’s very sweet sounding, but not muddy, even when the tone control is rolled down. The bridge pickup combines some of our favorite qualities from different Tele® and Broadcaster® models—clean, snappy low strings, warm high strings, superior string separation and balanced response. Both models have Alnico 2 magnets for maximum sustain and pure tone, and they were designed to work with the original 250K control value.

Virtual Hot T™DP413We designed the Virtual T™ bridge model to produce classic Tele® sounds, but we knew that wouldn’t be enough for every Tele® player. Some of you want extra muscle from the bridge position—more punch, less zing. We can do that. The Virtual Hot T™ is louder and thicker, like an overwound vintage single-coil. It’s got a woody sound when the tone control is wide open, and more of a P90 character when it’s rolled down. We’re talking killer blues tone here, and it still balances well with the Virtual T™ neck model. The Virtual Hot T™ uses the same Alnico 2 magnets as our other Virtual T™ models, and works with 250K controls.

design. We wanted pickups that captured the best elements of our favorite Broadcaster® and Telecaster® sounds, and then some. The Twang King™ pickups have unequalled response to pick attack: light playing produces a soft, quiet tone and hard picking creates a harder, louder and more dynamic sound than any comparable single-coil. We accomplished this with a combination of controlled-tension coil-winding, special wire and hand-calibrated magnets. The neck pickup comes with a chrome cover, and the bridge model has a ferrous base plate. Both pickups are wax-potted twice for squeal-free performance.

Fast Track T™DP381The Fast Track T™ is hotter than most single-coil Tele® bridge pickups, but it has way more twang and snap than a humbucking pickup ought to have. We pulled this trick off by combining patented dual-resonance coils (less DC resistance than a standard Tele® single-coil) with twin-blade poles for less string-pull than standard rod magnets. It all means more sustain, cleaner highs and tighter bass. It may not look like a traditional Tele® bridge pickup, but if outstanding hum-free performance is the goal, the Fast Track T™ is a clear winner.

The Tone Zone T™DP389The Tone Zone T™ brings the perfor-mance of the famous Tone Zone® to a humbucking Tele® replacement pickup. We’ve built in the tremendous mid-range and bass response of the original Tone Zone®, and the same patented dual-resonance design produces great harmonics. 4-conductor wiring provides parallel humbucking and split-coil modes, so you can go from bang to twang at the flick of a switch.

The Chopper T™DP384The Chopper T™ is the louder, punchier brother of the Fast Track T™. More

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Strat®, Tele®, Telecaster® and Broadcaster® are registered trademarks of Fender Musical Corp., with which DiMarzio, Inc. is not affiliated.

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the qualities everyone digs about the originals, but we wanted a few other things, too. Most players use a plain “G” string (regardless of gauge), so we developed a magnet stagger balanced to match today’s string sets. We also insulated the coil from the magnets so the pickup can’t short out, and the Blue Velvet™ can be safely phase-reversed.

Did we lose the original sound? There’s no mystery about it: the Blue Velvet™ still sounds great. The Class of ’55™ is our pick for clean country

sound, but the Blue Velvet™ is our first choice for blues.

Red Velvet™DP174The difference between a vintage Strat® bridge pickup sound and a classic Broadcaster® or Tele® tone is mostly a matter of attack and definition—the Strat® stings and screams, while the Tele® punches and sings. We thought it would be neat to have a Strat® pickup that does both, and this is it. The punch comes from the bottom-loaded Power Plate™, the sting from custom coil-winding and the Blue Velvet™ magnet stagger, and a unique mid-range “growl” that’s a result of a hand-calibrated magnet structure. Try a Red Velvet™ bridge pickup with a pair of Blue Velvet™ pickups for a sound that’s both classic and new.

HS-2™DP116The HS-2™ has history behind it. It was the first humbucking Strat® replacement pickup we made, in the early 1980s. Since then, it’s become popular for two distinct qualities: in humbucking mode, it’s got a solid, natural sound that’s cleaner and brighter than a conventional humbucker, while single-coil mode creates one of the best vintage tones around. Because of its patented design, single-coil mode is not as noisy as a standard single-coil pickup. Taken together with the dead-quiet hum-bucking mode, this is an excellent pickup to use with rack systems and high-gain amps.

HS-3™DP117We originally created the HS-3™ to be a warmer bridge-position companion to the HS-2™. Yngwie Malmsteen adopted it for his standard neck and bridge pickup, and almost overnight the HS-3™ acquired the reputation of being a high-powered metal pickup. This isn’t really the case—the HS-3™ is actually a smooth and relatively quiet pickup that produces a sweet overdrive tone without jagged edges. What Yngwie discovered is that these qualities combine perfectly with a heavily distorted amp, because the sound won’t get muddy or messy. The HS-3™ is also versatile—it’s a noise-free pickup in a live situation or in the studio.

YJM™ DP217You might not realize it from his music, but Yngwie Malmsteen is a vintage Strat® collector, and he swears by his 50s and 60s axes. He also swears by our HS-3™, and he’s always wanted a vintage magnet-stagger version to go with his best guitars. While there is still a strong resemblance to the HS-3™, the YJM™ has more presence and brilliance, particularly on the high strings, and still no 60-cycle hum. Yngwie uses it in the neck and middle positions of his main guitars, and it’s also the standard neck pickup on his signature model Strat®.

Fast Track 1™DP181The Fast Track 1™ is hotter and more muscular than The Cruiser®, but it’s still very bright and clean sounding—not at all like a full-size humbucker. The dual-blade continuous magnetic field creates an even string balance with very little magnet-pull, eliminating the “out-of-tuneness” common to rod-magnet designs. The Fast Track 1™ pickup’s power (double the output of a standard single-coil) makes it highly recommended in combination with medium-to-hot full-size humbuckers. You can also put a whole set of Fast Track 1™ pickups in a Strat®-style guitar, or create custom sets with The Cruiser®, The Chopper™ and Pro Track™.

FS-1™DP110Some players find the traditional Strat® bridge pickup sound clear and sparkling, while others think it’s almost painfully bright. You know who you are, and the FS-1™ is for you. It’s louder (about 25% more power) than a stock single-coil, and smoother and fatter-sounding all ’round. When you combine the FS-1™ in the bridge with Class of ’55s™ or Blue Velvet™ in the middle and neck, you’ll have a guitar with calibrated, balanced tone in all five switch positions. For a bigger, more aggressive sound all around, you can also install FS-1™ pickups in all three positions.

Class of ‘55™DP119The Class of ’55™ is our tightest and brightest Strat® replacement pickup, with all the twang and glassy clarity of vintage single-coils. Exceptionally clean in the neck position, it also has the elusive “quack” necessary for the classic Strat® neck/middle and bridge/middle sounds. We insulated the coil from the magnets so the Class of ’55™ can be safely phase-reversed, and unlike many surviving originals from the Fifties, the Class of ’55™ won’t squeal at volume or double as an unwanted vocal mic, thanks to DiMarzio’s advanced wax-potting technology.

Blue Velvet™DP170 Neck & DP171 BridgeThere’s something mysterious about the sound of a great old Strat® pickup. It has 60-cycle hum, and magnet-pull can be a problem, but the way notes jump out of the amp and then sustain is so appealing that thousands of players won’t do it any other way. We wanted to capture

Fast Track 2™DP182It’s not any bigger than a single-coil pickup, but the sound of the Fast Track 2™ puts it right in the wide open, “everything-on-11” school. It’s got three times the output of an average single-coil, with a huge mid-range and bass punch and a strong resemblance to the Super Distortion®.This is our hottest single-coil sized bridge pickup—particularly useful when you need a tightly focused jolt of power to crank your amplifier into rich overdrive. Combining it with a Pro Track™ or The Chopper™ in the neck position and The Cruiser® or Fast Track 1™ in the middle makes a guitar with an outstanding, broad range of sounds from glassy to dark and heavy.

The Tone Zone S™DP189The Tone Zone S™ brings the famous performance of The Tone Zone® to a humbucking Strat® replacement pickup. We’ve built in the tremendous mid-range and bass response of the original Tone Zone®, and the same patented dual-resonance design produces great harmonics. We also took into account the likelihood of installing The Tone Zone S™ in the classic slanted Strat® bridge position, warming up the higher frequencies and brightening the low notes a little. It has 4-conductor wiring for parallel humbucking and split-coil modes, and makes a great bridge position combination with the Pro

Track™, Chopper™ and Fast Track 1™.

The Chopper™DP184The Chopper™ is the louder, punchier

brother of the Fast Track 1™. More power is concentrated in the mids and low end for a bigger sound with more crunch. It shares the same side-by-side coils and twin-blade construction as the

Fast Track 1™, so there are no misaligned poles or string-pull problems. We originally designed it as a bridge pickup to combine with The Cruiser™ and Fast Track 1™, but it’s also a good neck pickup when you’ve got a hot humbucker in the bridge position.

Pro Track™DP188It’s warm, it’s friendly, it sounds like a vintage PAF® and will drop right into your Strat®. The Pro Track™ has enough power for any pickup position, and the twin black blades mean there won’t be any problems with string-alignment or dropouts. In the bridge position, this is a great blues pickup: combine it with The Cruiser® (neck) and a Fast Track 1™ (middle) for a solid mix. Pair two Pro Track™ pickups in the neck and middle positions with a Fast Track 2™ or any full-size humbucker in the bridge position for a heavy yet versatile rock sound.

The Cruiser®DP186 Neck & DP187 BridgeIf you’re a serious traditional Strat® player, you probably won’t want to know about pickups with side-by-side coils. But if you’re the player who’s up for something more modern with no 60-cycle hum, string drop-outs or sustain-killing magnet pull, we designed The Cruiser® for you. Harmonic overtones are right where you expect them to be from a “true” single-coil, and the mid-range is open and vocal-sounding. It’s hotter than the traditional single-coil, and the bass strings have a bit more chunk; this is an excellent pickup to combine with medium-output humbuckers, and it maintains its tonal identity with high-gain amps and multiple effects.

Strat®, Tele® and Broadcaster® are registered trademarks of Fender Musical Corp., with which DiMarzio, Inc. is not affiliated.

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Model One™DP120Originally designed as a direct replacement for Gibson® EB series neck pickups, the Model One™ has found new life as a woofer/tweeter in multi-pickup bass setups. By combining the Model One™ with Split P™, DiMarzio Model P® or DiMarzio Model J™ pickups, you can effectively turn your bass into a woofer/tweeter setup with on-board control of sonic extremes. By sending the Model One™ to a rig with an 18-inch speaker cabinet and plugging the other pickup’s output into your regular gear, you have the makings of a sound with earth-moving bottom and crisp, transparent high-end. What’s that sound like? Check out Billy Sheehan. It’s the monstrous sound he’s pioneered that’s made Rock shake for years.

DiMarzio Model P®DP122Breathe new life into any bass by replacing its stock pickup with a DiMarzio Model P®. This hum-cancelling two-piece pickup brings big, punchy sound to Fender® Precision Bass®-style basses. The DiMarzio Model P® accurately reproduces the sound of your bass with added gain and solid tone. DiMarzio Model P® pickups cut through the band without sacrificing bottom-end power. Gutsy mid-range provides growl when the bass is pushed hard. Combine the DiMarzio Model P® with a bridge position DiMarzio Model J™ or Ultra Jazz™ to achieve any tone from a tight mid-range punch to a warm bottom-end with bright, clear attack.

DiMarzio Model J™DP123DiMarzio Model J™ pickups reproduce the warmth and roundness of the traditional Fender® Jazz Bass® sound with increased power and hum-cancellation. The additional power translates into a bigger sound that emphasizes the resonant character of the instrument. The DiMarzio Model J™ pickup’s sensitivity and deep tone are also the perfect complement to fretless basses. Double-stop glissandos and delicate violin-style vibrato speak with a classic, woody voice simply by backing off slightly on the tone control. For an even more varied choice of tones, pair a bridge position DiMarzio Model J™ with a DiMarzio Model P® pickup. The warm, fat tone of the DiMarzio Model P® plus the tight punch of the DiMarzio Model J™ open up the sound of any bass.

Split P™DP127Widen the sound of your gear with a Split P™ pickup. Each half of this unique double-blade P-style pickup is a complete humbucker. Split P™ pickups are EQ’d

magnetic field lends more impact to individual notes and harmonic overtones. Both pickups are humbucking with 4-conductor wiring.

Ultra Jazz™DP147 NECK, DP148 BRIDGE & DP149 PAIRThe hum-cancelling Ultra Jazz™ takes a traditional Fender® Jazz Bass® sound and really opens it up. Lows are deeper, highs are more percussive and the mid-range is round but not muddy. Harmonic overtones jump off the strings. It’s also quick; with instant response to either fingers or pick-style playing. There’s only one word for this combination of qualities: “musical.” Choose the perfectly matched Ultra Jazz™ pair, or try an Ultra Jazz™ bridge pickup with a Split P™ in the middle position.

Ultra Jazz 5™DP547 NECK, DP548 BRIDGE & DP549 PAIRThe Ultra Jazz 5™ has many of the same qualities as the 4-string Ultra Jazz™,

but it’s been specifically designed to meet the demands of 5-string basses. By means of a unique application of

Virtual Vintage® technology, the Ultra Jazz 5™ both cancels hum and produces balanced power and frequency response across all five strings. Although designed for passive operation, the Ultra Jazz 5™ also performs excellently with many active onboard preamps.

to expand the range of your bass by extending both low- and high-end response: a great way to get a broader contemporary sound from mid-rangy one-pickup-in-the-middle basses. The double-blade design adds snap for crisp attack and emphasizes cool overtones for big, smooth tone. Blade pole pieces also make the Split P™ very sensitive to finger- and pick-attack. Notes seem to ring longer, especially in the upper registers, as the pickup “hears” the decaying note practically down to a whisper.

Will Power™DP145 NECK & DP146 MIDDLEBilly Sheehan has used the original DiMarzio Model P® and Model One™ bass pickups for many years. Because of the demands Billy puts on his system, we made several modifications to existing models in order to deliver even more of what he wanted. These are the exact pickups Billy uses in his signature Yamaha® basses. The Will Power™ neck model is very deep-sounding with great low-end definition. Its dimensions are the same as the Model One™, but it’s a little louder and fatter-sounding, and pole piece spacing is slightly wider for better string alignment with long-scale basses. The Will Power™ middle pickup is a P-style pickup with tremendous punch and mid-range power. The overall sound is similar to the DiMarzio Model P®, but a broader

Fender® Precision Bass® and Fender® Jazz Bass® are registered trademarks of Fender Musical Corp., with which DiMarzio, Inc. is not affiliated.Gibson® EB is a registered trademark of Gibson Guitar Corp., with which DiMarzio, Inc. is not affiliated.

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Acoustic Model™DP130The Acoustic Model™ is a piezo-electric transducer that can be mounted in any location on the guitar’s top. A non-hardening putty is used to mount the pickup, allowing simple installation and removal. Every acoustic guitar has its own balance of highs, mids and lows, and it’s easy to experiment with the position of the Acoustic Model™ to determine the spot that achieves the best tone for your taste. It can also be semi-permanently mounted on the inside face of the guitar and connected to an acoustic endpin jack, so it’s practically invisible. The Acoustic Model™ works on all steel, bronze and nylon string instruments.

Elemental™DP134What comes to mind when you hear the Elemental™ are words such as “warm” and “friendly”. It’s sensitive to differences in picking attack, and “hears” the change in tone as the right hand moves along the string length. This makes the Elemental™ particularly suited to finger-picking styles with small and medium-size guitars. Like the Super Natural Plus™, the Elemental™ installs easily with foam-insulated mounting brackets. Twelve adjustable pole pieces allow precise string balance, and there’s a convenient slide volume control and 12-foot cable.

Virtual Acoustic™DP138The Virtual Acoustic™ uses the same technology as the Virtual Vintage® line to create a pickup that’s practically noise-free—even compared to humbuckers. The sound is both warm and open, reproducing the natural dynamics and tonality of steel-string guitars and enabling the Virtual Acoustic™ to capture the character of the particular instrument it’s mounted in. Like the Super Natural Plus™, the Virtual Acoustic™ installs easily with foam-insulated mounting brackets, which can be cut down in order to accommodate guitars with smaller soundholes. Twelve adjustable pole pieces allow precise string balance. It also has a volume control with a compensated tone network—to minimize tone changes when the volume is adjusted—and a 12-foot cable.

Super Natural Plus™DP136The Super Natural Plus™ is just what its name implies—it goes beyond ordinary-sounding acoustic pickups. The Super Natural Plus™ is voiced specifically for dreadnought-sized guitars, where our combination of incredibly crisp treble and tight bass response will allow acoustic players to deal with real-world problems of feedback and muffled tone. The pickup is built into a plastic cover molded to look like dark-grained rosewood. It installs easily beneath the strings, with shock-absorbing foam lining the inside edges of the mounting brackets to keep the Super Natural Plus™ in place and protect the soundhole. If necessary, the foam can be cut down to accommodate guitars with smaller soundholes. There are individual adjustable poles for

each string, and the built-in 12-foot cable is thin and

light, constructed to be strong and durable. A slide volume control is included with the Super Natural Plus™

for easy adjustment while playing. Simply put,

the Super Natural Plus™ is a hassle-free, easy-to-use

soundhole acoustic pickup, and the natural choice for outstanding

acoustic tone.

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1. Super Distortion®, Dual Sound®, Super 2™

2. Evolution® Neck, Evolution® Bridge,

Evo 2™ Bridge3. FRED®, Steve’s Special™,

PAF Joe™,The Humbucker From Hell®

4. Virtual PAF™ Neck & Bridge, Virtual Hot PAF™,

PAF®, The Tone Zone®, Norton®, Air Norton™, Air

Zone™, Air Classic™ Neck & Bridge, EJ Custom™ Neck &

Bridge, Bluesbucker®

5. D Sonic™6. PAF Classic™ Neck &

Bridge7. PAF Pro®

8. X2N®

9. The Breed™ Neck & Bridge

10. Virtual Vintage® (All), VirtuAL 2® (All)

Class of ’55™, Blue Velvet™ Neck & Bridge, Red Velvet™

11. HS-2™, HS-3™,YJM™, FS-1™

12. Fast Track 1™, Fast Track 2™, The Tone Zone S™, The

Chopper™, The Cruiser® Neck & Bridge, Pro Track™

13. Fast Track T™,The Chopper T™,

The Tone Zone T™14. Twang King™ Neck

15. Pre B-1™,Twang King™ Bridge

16. Virtual T™ Neck17. DiMarzio Minibucker™,

DiMarzio® Hot Minibucker™18. DiMarzio Soapbar™

19. DLX Plus™ Neck & Bridge, Virtual P90™,The Tone Zone P90™

20. P90 Super Distortion™21. Blaze™ Neck Model & Bridge Model,Blaze™

Custom, Evolution 7™22. The Tone Zone 7™, PAF

7™, Air Norton 7™23. DiMarzio Model P®24. DiMarzio Model J™

25. Model One™,Will Power™ Neck

26. Will Power™ Middle27. Ultra Jazz™ Neck &

Bridge28. Split P™

29. Virtual Acoustic™, Elemental™

30. Super Natural Plus™31. Acoustic Model™

HumbuckersMost full-sized humbuckers are available in black, creme, white, blue, green, pink, red, purple, yellow and most combinations of these colors (e.g., black and creme). The Virtual PAF™ and Virtual Hot PAF™ come in glossy black, glossy creme or glossy black and creme. The PAF Classic™ comes standard with a metal cover in polished nickel, gold or raw nickel-silver. The following models are available with a factory-installed metal cover in polished nickel, gold or raw nickel-silver at extra cost: Air Norton™, Norton®, PAF®, The Tone Zone®, Virtual PAF™, Virtual Hot PAF™ Air Classic™ and Bluesbucker®. All full-sized humbuckers come in standard and F-spaced versions except the X2N® which comes in one universal spacing. 7-string humbuckers including the Tone Zone 7™, Air Norton 7™ and PAF 7™ are only available in black, creme or black and creme. The Blaze™ models and Evolution 7™ are also available in red, glossy green, glossy white and glossy yellow. All 7-string models are F-spaced. Soapbar models are available with black and creme covers.

Single-CoilsMost DiMarzio® pickups for Strat® replacement come in black, creme, mint green, white and aged white. Additionally, the FS-1™, all HS™ models and the YJM™ also come in blue, green, pink, red, purple and yellow. Fast Track™ models and all models for Stat® and Tele® replacement with blade pole pieces come in black, creme, mint green, white, blue, green, pink, red, purple and yellow. All other DiMarzio® pickups for Tele® replacement are black, except the Twang King™ neck model which comes only with a chrome cover. All Strat® and Tele® replacement models are F-spaced.

Bass PickupsAll DiMarzio® bass pickups are available in black. The Model P®, Model J™ and Ultra Jazz™ are also available in creme. The Split P™ is also available in white.


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DiMarzio® ClipLock® Quick Release Guitar Straps were the first to feature the heavy-duty plastic clip that allows you to easily change from guitar to guitar with a little fingertip pressure. It is the most secure and unique fastening method available to safeguard your guitar. ClipLock® Quick Release Guitar Straps

have been used for years by Steve Vai, Joe Satriani, Yngwie Malmsteen, John Petrucci and many other professional musicians. They are the industry standard for strength, security and quality.

ClipLock® Quick Release Guitar Strap with Metal End ClipsDD2210Fashionably adorned with polished nickel end clips, these nylon straps have real presence. Our metal-end straps use the same high quality nylon as our other straps and adjust in length from 43 to 63 inches (109 -160 cm), measured between the strap buttons. Available in black or white.

Nylon ClipLock® Quick Release Guitar StrapDD2200 (2-inch wide)DD2800 (3-inch wide)Nylon was our first choice for ClipLock® Quick Release Guitar Straps. We chose automotive seatbelt material for its comfort, strength and durability. Unlike inexpensive polypropylene,

nylon has a smooth, satin feel, allowing the guitar to slide freely during performance. (Ask Yngwie Malmsteen.) The fabric conforms to your body and adds a new level of comfort, yet it is strong enough to hold over 100 pounds! Nylon ClipLock® Quick Release Guitar Straps come in assorted cool and classy colors and adjust in length from 43 to 63 inches (109 -160 cm), measured between the strap buttons.

Cordura® ClipLock® Quick Release Guitar StrapDD2200Cordura® is an abrasion-resistant nylon material often used by the U.S. military. It is an air-textured nylon fabric that is engineered for durability, strength, lightness and easy care. We chose Cordura® because of its feel. It differs from our nylon strap material in that the guitar stays in place instead of sliding. DiMarzio® Cordura® ClipLock® straps are available in assorted military and muted colors, and adjust in length from 43 to 63 inches (109 - 160 cm), measured between the strap buttons.

Cotton ClipLock® Quick Release Guitar StrapDD2200C As comfortable as a well worn pair of jeans, Cotton ClipLock® Quick Release Guitar Straps are made of a high thread-count cotton weave. The natural qualities of cotton give the strap a traditional look and relaxed feel. DiMarzio® Cotton ClipLock® Quick Release Guitar Straps are available in unbleached natural, black and red and adjust in length from 45 to 66 inches (114 - 168 cm),

measured between the strap buttons.

Nylon Web Standard Guitar Strap with Leather EndsDD3100N These straps are made of high quality nylon webbing identical to car seatbelts. The strap ends are stitched leather and “button” on to an electric guitar. They also include a leather tie-cord for use on an acoustic guitar. The length adjusts from 32 to 56½ inches (81 - 144 cm).

Woven Cotton Standard Guitar Strap with Leather EndsDD3100C These straps are made of high quality woven cotton. The strap ends are stitched leather and “button” on to an electric guitar. They also include a leather tie-cord for use on an acoustic guitar. The length adjusts from 32 to 56½ inches (81 - 144 cm).

Cordura® Standard Guitar Strap with Leather EndsDD3100These straps are made of high quality Cordura®. The strap ends are stitched leather and “button” on to an electric guitar. They also include a leather tie-cord for use on an acoustic guitar. The length adjusts from 32 to 56½ inches (81 - 144 cm).

DiMarzio® has taken the traditional guitar strap design to a new level by creating straps with higher quality elements. Incorporating saddle stitching into the leather lozenge-shaped end pieces

produces a stronger more attractive look.

NYLON COLORS

BLACK WHITE ELECTRIC BLUE

VIVIDGREEN

PURPLE BLACK MARINEGREEN

AIR FORCEGRAY

CAMO

COTTON COLORS CORDURA® COLORS

RED NATURAL BROWN

ClipLock™ Metal End detail

ClipLock® Quick Release Guitar Straps attach securely to your guitar with twosturdy bushings and extra-long screws sized to fit the strap bushing screw holes on

most electric guitars and basses. All of our ClipLock® straps are 2 inches wideand our nylon ClipLock® strap is also available in a 3-inch width.

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Custom Italian Leather Rhinestone Guitar StrapDD3272For those who believe that too much is never enough, here is your guitar strap. Each leather strap is loaded with 200 brilliantly faceted rhinestones set individually in custom bezels and attached by hand. They are dazzling under stage lights. The heavy-duty nickel-plated buckle and rivets add to the substantial look and feel of this strap. Available with red rhinestones on black Italian leather or amethyst rhinestones on dark brown Italian leather, these guitar straps can be used in either direction: buckle forward or rounded side forward. Available in the adjustable sizes below.S/M 43 – 47 inches (109 - 119 cm)M/L 46 – 50 inches (117 - 127 cm)L/XL 51 – 55 inches (130 - 140 cm)

Custom Italian Leather Guitar Strap with Nickel-plated BuckleDD3252The nickel-plated buckle beautifully complements the black or dark brown Italian leather for a distinctively solid look. These guitar straps can be used with either the buckle or rounded side forward. Available in the following adjustable sizes. S/M 43 – 47 inches (109 - 119 cm)M/L 46 – 50 inches (117 - 127 cm)L/XL 51 – 55 inches (130 - 140 cm)

Custom Italian Leather Nail-Head Studded Guitar StrapDD3262Just as substantial but not as flashy as our rhinestone strap, our black Italian leather nail-head strap is studded with over 300 mounted nail heads like a funky, casual belt. It can be worn with the matching nickel buckle either in the front or rear. They are embossed with a discreet DiMarzio® logo. Available in three adjustable sizes. S/M 43 – 47 inches (109 - 119 cm)M/L 46 – 50 inches (117 - 127 cm)L/XL 51 – 55 inches (130 - 140 cm)

Custom Italian Leather Acoustic Guitar StrapDD3242There is no danger of this strap marking the finish of a prized acoustic guitar because we use no metal parts in it. Available in black or dark brown Italian Leather, it adjusts from 49 inches to 55½ inches (125 – 141 cm), and comes with a matching tie string. These straps are beautiful, comfortable and durable.

Basic Italian Leather Guitar StrapDD3212 (2-inch wide)DD3213 (3-inch wide)Even if price is a concern, you’re still entitled to a little pampering. We liked the pliant, relaxed feel of our new Custom Italian Leather Guitar Straps so much that we’ve redesigned our Standard Leather Guitar Strap in order to upgrade it to the same high quality leather in a slightly thinner (1⁄8”) gauge. Now you can get our suPerb Italian leather in the classic shape at a very attractive price. Available in black or brown, the Basic Italian Leather Guitar Strap “buttons” on and comes with a tie-cord for acoustic guitars. Available in both 2- and 3-inch widths, the length adjusts from 32 to 56½ inches (81 - 144 cm).

Padded Leather Guitar StrapDD3500We use the finest quality black upholstery leather filled with a soft foam pad to create what is probably the softest leather strap ever made. The smooth leather has a natural—slightly pebbled—texture, and allows the strap to glide freely over clothing for freedom of motion. The sides are rounded over before stitching for added comfort. Our Padded Leather Guitar Strap is 2 inches wide and features leather tab ends. It comes with a tie-cord in the adjustable sizes below.S/M 43 – 47 inches (109 - 119 cm)M/L 46 – 50 inches (117 - 127 cm)L/XL 51 – 55 inches (130 - 140 cm)

LEATHER COLORS

BLACK BROWN

Spoil yourself with DiMarzio® Custom Italian Leather Straps. The Italian tanningprocess gives our leather its exceptionally rich color and texture. Additionally, the

skins are tumbled for a supple, broken-in feel. These guitar straps feel like an oldleather jacket. (You know, the one you can’t seem to throw away.) Each strap is 2 inches

wide and extra thick (5/32 inches), and the bottom edges are rounded for extra comfort and embossed with the DiMarzio® logo.

Custom Italian Leather Rhinestone Guitar Strap (amethyst & dark brown)

L to R—Padded Leather Guitar Strap, Basic Italian Leather Strap, Custom Italian Leather Acoustic Guitar Strap,

Custom Italian Leather Nail-Head Studded Guitar Strap & Custom Italian Leather Strap with Nickel-plated Buckle

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DiMarzio combines true and tested designs with the latest technology to give you cables that work in the real world—live stage performances, studios and anywhere that musicians care about their sound. DiMarzio® cables have been critically acclaimed for their dependability and accuracy in

delivering what musicians really want from their gear: great sound and unmatched durability. Our cables are constructed using silver solder, stranded copper wire and braided copper shield. All

DiMarzio® cables and wire are produced in the United States and assembled in our New York City factory. They carry a lifetime warranty against defects in materials and workmanship.

CABLE COLORS

BLACK RED ELECTRIC BLUE

MARINE GREEN

PURPLE BLACK / GRAY

VINTAGE TWEED

DiMarzio® Guitar & Instrument Cable

EP1706, EP1710, EP1715, EP1718 & EP1721DiMarzio® Guitar & Instrument Cables are unsurpassed for connecting guitars, basses

and keyboards to amps. Exceptionally crisp, clear, quiet and durable, they outperform cables costing

much more. They’ve been called “the new industry standard,” and have successfully

passed Guitar Player magazine’s “chop” and “jump rope” tests as well as many other

torture tests. Custom designed low-capacitance American-made copper cable ensures low stage noise and guarantees consistent sound and improved high frequency response. DiMarzio® Guitar & Instrument Cables are encased in

a durable nylon braided jacket which is designed to lie flat, decrease tangling

and protect the cable. DiMarzio® Guitar & Instrument Cables come standard with

straight American-made ends in 6-foot, 10-

foot, 15-foot, 18-foot

and 21-foot lengths. They’re

available in assorted cool and classy colors, and come with a patented quick-release cable tie. Right angle and silent ends are available at extra cost.

DiMarzio® Jumper CableEP17J06 & EP17J12Recognizing the need for a short “jumper” version of our famous guitar cables,

DiMarzio® now offers professional grade cables in 6- and 12-inch lengths. We use the same U.S. made nylon overbraid jacket as in our standard guitar cables, delivering maximum signal transmission and minimum high-frequency

loss. Right-angle Switchcraft® ends are encapsulated in a super-tough thermoplastic resin that permanently bonds the plug to the cable, making our Jumpers so rugged and durable that they carry a lifetime warranty. DiMarzio® Jumper Cables are available in the following colors: black, red, electric blue, black & gray and vintage tweed.

DiMarzio® Stereo Guitar CableEP2715YThis cable was designed from the ground up for sound quality and durability. The stereo-to-mono wire junction uses our high tech ultrasonic (solderless) weld system, and plug connections are made with silver solder. Switchcraft® plugs are

used throughout. The cable is covered in a durable nylon overbraid jacket color coded with one black and one red leg for easy

identification, with a total length of 15 feet (4.6 m). This cable easily meets professional

demands both in the studio and for live performance. Ideal for use with acoustic/electric guitars having both magnetic and piezo pickups.

DiMarzio® M-Path™ AC CableEP2106, EP2108, EP2106BB & EP2108BB Our AC cable begins with the best quality AC hardware. We use Marinco IEC and Hubbell hospital grade connectors. The cable contains three identical 12-gauge OFHC Teflon® insulated wires shielded with a braided copper cover. Then the wire is ultrasonically welded together into a nugget before using the screw termination on the end hardware. The result is an extremely quiet, fast responding AC source that adds greater depth to the sound stage.

DiMarzio® Instrument Speaker CableEP1803, EP1804 & EP1806DiMarzio® Instrument Speaker Cables reproduce sound so accurately we could have called them “Reference Cables”. Our cables are fine-tuned for deep bass and open highs. They deliver definition and openness from string-to-string like you’ve never heard before. They’re ideal head-to-bottom hookup for guitar or bass applications. DiMarzio® Instrument Speaker Cables are made with 12-gauge OFHC copper wire and Teflon® insulation and minimize cable interaction when subjected to stage level volumes because of our resonance control. DiMarzio® Instrument Speaker Cables come in 3-foot, 4-foot, and 6-foot lengths and are available in black only. Head-to-bottom connectors have black nylon outer jackets and ¼-inch phone ends. Neutrik® Speakon ends are available at extra cost.

DiMarzio® Jumper Cable—electric blue & vintage tweed

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Steve Cunningham—The Humbucker From Hell®, Air Norton™, The Tone Zone®

Philip de Gruy—MultiBucker™, Fast Track 1™, The Cruiser® Bridge & NeckBrad Delson—D Sonic™, The Tone Zone®, Air Zone™ Amir Derakh—Air Norton™, PHWP1, PHWP2 Al Di Meola—Super Distortion®, Al Di Meola Model™ Neck & Bridge Doctor Know—The Tone Zone®, PAF Pro®, HS-2™ Doug Doppler—PAF Pro®, Super 3™ Todd Duane—Fast Track 1™, Fast Track T™ Buzzy Feiten—Air Classic™ Bridge, Virtual Vintage® 2.1, Virtual Vintage® Heavy Blues, Virtual PAF™ Bridge & Neck Brad Fernquist—Virtual Vintage® ’54 Bridge Dino Fiorenza—Ultra Jazz 5™ Bridge, Split P™, DiMarzio Model J™, Acoustic Model™ Dave Fiuczynski—Custom Pickups Stephan FortÈ—Air Norton 7™, The Tone Zone 7™ Ace Frehley—Super Distortion®, PAF® J.J. French—Air Norton™, The Tone Zone® Mike Fuller—Virtual Vintage® 2.1, Virtual Vintage® 2.2, Virtual Vintage® SoloReeves Gabrels—The Chopper™, The Humbucker From Hell®, MegaDrive™ Ekaitz Garmendia—PAF Pro®, The Tone Zone®, Norton®, VirtuAL 2® Bridge Brett Garsed—Virtual T™ Bridge & Neck, EJ Custom™ Bridge & Neck, PAF Pro®, The Tone Zone®, Air Norton™, Air Classic™ Bridge & Neck Jeff George—Steve’s Special™, Blaze™ Neck Model, Middle & Bridge Model, VirtuAL 2® Neck, Middle & Bridge, Reference Acoustic™Paul Gilbert—PAF Pro®, The Tone Zone®, Super Distortion®, The Humbucker From Hell®David Grissom—Norton®

Jason Groves—Ultra Jazz 5™ Bridge Eric Halbig—Pro Track™, VirtuAL 2® Neck, Middle & Bridge, Virtual T™ Bridge & Neck, Virtual Vintage® 2.2Page Hamilton—Air Zone™, Fast Track 1™Kyle Harrison—Fast Track 2™Bill Hart—The Chopper T™, The Cruiser® Bridge & Neck, Pro Track™, Super Distortion®, Reference Acoustic™Howard Hart—PAF Pro®, The Humbucker From Hell®, FRED®, Reference Acoustic™,

Twang King™ Bridge & Neck, The Breed™ NeckMatt Henderson—PAF 7™, The Tone Zone 7™Scott Henderson—Virtual Vintage® 2.1Joel Hoekstra—VirtuAL 2® Neck, Middle & BridgeGreg Howe—Air Classic™ Bridge & Neck, Fast Track 1™, The Breed™ BridgeScott Hughes—PHWP1, PHWP2, The Cruiser® Bridge & Neck, Air Classic™ Bridge & NeckSteve Hunter—Virtual Vintage® 2.1, Virtual Vintage® 2.2Toshi Iseda—Blaze™ Neck Model, Middle & Bridge ModelRandy Jacobs—Virtual Vintage® 2.1, Virtual Vintage® 2.2, Virtual T™ Bridge & Neck, Virtual PAF™ Bridge & NeckHarry Jacobson—Virtual T™ Bridge & Neck, VirtuAL 2®Neck, MultiBucker™Eric Johnson—HS-2™, Elemental™Rob Johnson—Evolution® Bridge & Neck, Blaze™ Neck Model, Middle & Bridge ModelVictor Johnson—Virtual Vintage® 2.2, VirtuAL 2® BridgeBrian Kahanek—Virtual PAF™ Bridge & Neck, VirtuAL2, Virtual Hot T™ BridgeTom Kopyto—Air Norton 7™, The Tone Zone 7™, Fast Track 1™, The Tone Zone T™Richie Kotzen—HS-2™, Fast Track T™, FRED®, PAF Pro®

Bob Kulick—Dual Sound®, HS-2™Jason Lamb—Evolution® Bridge, The Humbucker From Hell®, Fast Track T™Sonny Landreth—Virtual Vintage® 2.2, VirtuAL 2® Neck & Bridge, The Cruiser® Neck & Bridge, Fast Track 1™, PAF®, Super Distortion®

Greg Leisz—Virtual Vintage® 2.1, Reference Acoustic™Dory Lobel—VirtuAL 2® Neck, Middle & BridgeMark Lucas—VirtuAL 2® Neck & Middle, Virtual Vintage® Solo, Air Classic™ Bridge & Neck, Air Zone™Yngwie J. Malmsteen—HS-3, YJM™, Air Classic™ Bridge & Neck, DiMarzio Model P®, DiMarzio Model J™Bob Mann—Air Classic™ Bridge & Neck, Virtual Vintage® 2.1, Virtual Vintage® 2.2John March—Virtual Vintage® Blues, The Breed™ BridgeFrank Marino—Virtual Vintage® 2.2, VirtuAL 2® Bridge

Andy Abad—Virtual Vintage® 2.2 John Alderete—Ultra Jazz 5™ Bridge Pete Anderson—Virtual T™ Bridge & Neck, Virtual Vintage® 2.2, Pro Track™Dave Angstrom—Air Classic™ Bridge & Neck, VirtuAL 2® Bridge & NeckRob Bailey—Air Classic™ Bridge, Virtual Vintage® 2.2 Brian Baker—Super Distortion®, The Chopper™ Rob Balducci—Norton®, Bluesbucker® Reb Beach—Air Classic™ Bridge & Neck, Norton® Jean-Marc Belkadi—Double Whammy™, Class of ’55™, Air Norton™, Air Zone™ Jay Bentley—Split P™ Paul Bento—Super 2™Pat Bergeson—Virtual Vintage® 2.2, VirtuAL 2® Bridge & Neck, Virtual T™ Bridge & NeckJoey Bochar—Evolution® Bridge, Fast Track 2™, D Sonic™ John Bohlinger—VirtuAL 2® Neck, Virtual Hot T™ Bridge, The Humbucker From Hell®Jamie Brantley—Dual Sound®, PAF Pro®

Kenny Breschia—Virtual T™ Bridge & Neck, VirtuAL 2® Neck, Middle & BridgeTim Brooks—PAF®, PAF Classic™ Bridge & Neck, Virtual PAF™ Bridge & NeckChris Buono—DLX Plus™ Bridge & Neck, Air Classic™ Bridge & NeckMark Burkert—PAF Pro®, Evolution® Bridge & NeckSerj Buss—The Tone Zone®, Air Norton™, Evolution® Bridge & Neck, Virtual Vintage® 2.1, Virtual Vintage® 2.2James Byrd—Virtual Vintage® ’54 Neck, YJM™Rob Caggiano—The Tone Zone®, Air Norton™, The Humbucker From Hell®Vivian Campbell—Super 3™Jeff Carlisi—Dual Sound®

Chris Carter—Virtual T™ Bridge & NeckFabrizio Chiruzzi—PAF Pro®, Evolution® Bridge & Neck, VirtuAL 2® Neck, Middle & BridgeNeil Citron—Evolution® Bridge & NeckAngus Clarke—Virtual Vintage® 2.1, VirtuAL 2® Bridge & NeckPhil Collen—Super 3™, Fast Track 1™John Conte—DiMarzio Model J™ Anthony Corley, Sr.—Ultra Jazz 5™ Bridge Carl Culpepper—VirtuAL 2® Neck, & Middle, Virtual Vintage® Solo, Virtual PAF™ Bridge & Neck, Pro Track™

Andy Martin—The Humbucker From Hell®, Fast Track 1™, Air Zone™, Evolution 7™Eddie Martinez—Virtual Vintage® 2.1, Virtual Vintage® 2.2, PAF®, FRED®, VirtuAL 2® Bridge & NeckBrian May—Brian May Model™, FRED®

Jeff McErlain—Pro Track™, Virtual Vintage® 2.2, VirtuAL 2® Neck & BridgeBuddy Miller—Virtual T™ Bridge & Neck, VirtuAL 2® Neck, Middle & BridgeJason Miller—DLX Plus™ Bridge & Neck, Evolution® Neck, D Sonic™Federico Miranda—FRED®, PAF Pro®, Pro Track™, VirtuAL 2® Neck, Middle & BridgeLarry Mitchell—PAF Pro®, X2N®, The Tone Zone®, Virtual Vintage® 2.1Vinnie Moore—PAF Pro®, The Tone Zone®, Super 3™, Fast Track 1™Steve Morse—Steve Morse™ Bridge & Neck, Class of ’55™Gabriel Moses—The Humbucker From Hell®, Steve’s Special™, Virtual Vintage® 2.1, Virtual Vintage® 2.2Rolf Munkes—Fast Track 1™, The Breed™ Neck & Bridge, PAF Classic™ Bridge & Neck, Super Distortion®, The Humbucker From Hell®Dave Murray—Super Distortion®, PAF®

Toshimi Nagai—Custom PickupsNeil Nagaoka—The Tone Zone®, Pro Track™Paul Nelson—Virtual Vintage® 2.2, VirtuAL 2® Neck, Middle & BridgeOz Noy—Virtual Vintage® 2.1, VirtuAL 2® BridgeGinji Ogawa—D Sonic™Eddy Ojeda—The Tone Zone®, Air Norton™, Virtual Vintage® Solo, Virtual Vintage® Heavy Blues, The Tone Zone S™, The Humbucker From Hell®Magnus Olsson—The Tone Zone®, PAF Pro®, The Breed™ Neck & BridgePeter Parcek—The Chopper™, The Chopper T™, Virtual P90™, Virtual PAF™ Bridge & NeckDanny Parks—Virtual Vintage® 2.1, Virtual Vintage® 2.2, Virtual P90™, VirtuAL 2® Neck, Virtual T™ Bridge & Neck, Bluesbucker®

Marc Pattison—Norton®, The Humbucker From Hell®John Petrucci—Air Norton™, Steve’s Special™, Blaze™ Neck Model & Bridge Model, Blaze™ CustomChris Poland—EJ Custom™ Bridge & Neck

Michael Thompson—Air Classic™ Bridge & Neck, Virtual Vintage® 2.1, Virtual Vintage® 2.2, Virtual PAF™ Bridge & NeckAndy Timmons—PAF Pro®, The Breed™ Bridge, The Cruiser® Bridge & NeckDavid Torn—MultiBucker™, The Humbucker From Hell®, Fast Track 1™Carl Tosten—Reference Acoustic™, VirtuAL 2® NeckWalter Trout—VirtuAL 2® Neck, Middle & BridgeTakeshi Ueda—DiMarzio Model P®

Steve Vai—Evolution® Neck & Bridge, The Breed™ Neck & Bridge, Evo 2™ BridgeCarl Verheyen—Virtual Vintage® 2.1, Virtual Vintage® 2.2, Virtual Vintage® Solo, Bluesbucker®, Virtual P90™Ed Vick—Air Zone™, VirtuAL 2® Neck, Middle & Bridge, Virtual PAF™ Bridge & Neck, Fast Track 1™, Evolution® BridgeDave Weiner—PAF 7™, Air Norton 7™, The Tone Zone 7™, Evolution 7™Leslie West—Fast Track 2™, MegaDrive™Dave Whiston—Air Classic™ Bridge & Neck, Air Zone™, Virtual Vintage® ‘54 Neck & BridgeBilly White—PAF®, The Humbucker From Hell® Mark Whitfield—Custom PickupsLyle Workman—Fast Track 1™, The Humbucker From Hell®, PAF Pro®, Bluesbucker®

Hershel Yatovitz—Virtual Vintage® Blues, Virtual Vintage® 2.2, VirtuAL 2®NeckDweezil Zappa—Class of ’55™, PAF Pro®, The Tone Zone®

Bo Ramsey—Virtual Vintage® 2.1, Virtual Vintage® 2.2, Bluesbucker®

Randall X Rawlings—X2N®, Air Norton™, Virtual Vintage® 2.1, Virtual Vintage® 2.2Lou Reed—FRED®, Virtual Vintage® BluesPatrick Rondat—Evolution® Bridge & NeckMike Sarkisyan—Virtual P90™Joe Satriani—FRED®, PAF Pro®, PAF Joe™, Virtual P90™German Schauss—Air Norton™, The Tone Zone®, PHWP1, PHWP2Tom Scholz—Super Distortion®

Neal Schon—Norton®

John Shanks—VirtuAL 2® Neck, Middle & BridgeBilly Sheehan—DiMarzio Model P®, Model One™, Will Power™ Middle & NeckRyan Shuck—Blaze™ Bridge ModelDamir Simic—HS-3™, HS-2™, Air Norton™, Norton®, VirtuAL 2® Neck, Middle & BridgeHowie Simon—PAF Classic™ Bridge & Neck, VirtuAL 2® Bridge, Virtual Vintage® Solo, Fast Track T™Tracy Singleton—PHWP1, PHWP2Alex Skolnick—Evolution® Bridge, The Humbucker From Hell®Earl Slick—PAF Pro®, HS-2™, Super Distortion®, Fast Track T™Adrian Smith—Super Distortion®

Jeff Stinco—Air Norton™, Air Zone™Scott Stine—Blaze™ Bridge, The Cruiser® Bridge & Neck, Fast Track 1™, The Chopper™Joe Stump—HS-3™Ron Thal—The Chopper™, The Tone Zone®

Mike Miller and Jason Miller

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A few words about this chart:All of our full-size humbuckers are available with both standard and F-spaced pole pieces. F-spacing is slightly

greater, and should be used for the bridge position on almost all guitars with tremolo bridges or wide string-spac-ing. Guitars with a nut width of 111/16” (43 mm) or greater should use F-spaced pickups in the neck position as well. Output in millivolts shows how much power each pickup has. Higher numbers indicate louder pickups. In general,

we recommend having the loudest pickup in the bridge position. Pickups with similar power in all positions usually work well, too, but we don’t recommend having the loudest pickup in the neck position—it becomes very difficult to balance the output. The Tone Guide provides a general idea of how each model sounds. For example, higher treble

numbers mean bright-sounding pickups. Higher bass and mid-range numbers will be warmer with more punch.

*PATENT NUMBERS ARE AS FOLLOWS: A = 4,501,185; B = 5,908,998; C = 5,399,802; D = 4,442,749; E = 5,811,710

Strat® and Tele® are registered trademarks of Fender Musical Corp., with which DiMarzio, Inc. is not affiliated.

DiMarzio® Vintage Output HumbuckersDiMarzio® Vintage Output Humbuckers

DiMarzio® Medium Power HumbuckersDiMarzio® Medium Power Humbuckers

DiMarzio® High Power HumbuckersDiMarzio® High Power Humbuckers

DiMarzio® Soapbar & Mini-HumbuckersDiMarzio® Soapbar & Mini-Humbuckers

DiMarzio® 7-String PickupsDiMarzio® 7-String Pickups

Virtual Vintage® Strat® Replacement PickupsVirtual Vintage® Strat® Replacement Pickups

DiMarzio® Tele® Replacement PickupsDiMarzio® Tele® Replacement Pickups

DiMarzio® Single-Coil Strat® Replacement PickupsDiMarzio® Single-Coil Strat® Replacement Pickups

DiMarzio® Humbucking Strat® Replacement PickupsDiMarzio® Humbucking Strat® Replacement Pickups

DiMarzio® Electric Bass PickupsDiMarzio® Electric Bass Pickups

OUTPUT IN PICKUP NAME CATALOG NUMBER PAGE NO. MILLIVOLTS DC RESISTANCE PATENT NO. * Virtual Vintage® 2.1 DP401 10 112 9.5 4.5 3.5 6.12K D, E & B Virtual Vintage® Blues DP402 10 145 7.5 5.5 5.5 8.28K D, E & B Virtual Vintage® Heavy Blues DP403 10 168 7.0 6.5 6.0 9.08K D, E & B Virtual Vintage® Solo DP404 10 200 6.5 7.0 6.5 10.85K D, E & B Virtual Vintage® ’54 Neck DP405 10 130 8.0 5.0 5.0 7.64K D, E & B Virtual Vintage® ’54 Bridge DP406 10 137 8.0 5.0 5.5 7.86K D, E & B VirtuAL 2® Neck DP407 10 128 8.5 5.0 4.5 6.98K D, E & B VirtuAL 2® Middle DP408 10 125 8.0 5.5 5.5 7.45K D, E & B VirtuAL 2® Bridge DP409 10 145 7.5 6.0 6.0 9.11K D, E & B Virtual Vintage® 2.2 DP410 10 124 9.0 4.5 4.0 6.39K D, E & B Virtual Vintage® Solo Pro DP414 11 176 6.0 7.5 6.5 10.72K D, E & B

OUTPUT IN PICKUP NAME CATALOG NUMBER PAGE NO. MILLIVOLTS DC RESISTANCE PATENT NO. * Super Distortion® DP100 & DP100F 2 425 5.5 7.5 8.0 13.68K Dual Sound® DP101 & DP101F 2 425 5.5 7.5 8.0 13.68K X2N® DP102 2 510 6.5 6.5 5.5 15.80K Super 2™ DP104 & DP104F 3 425 8.0 6.0 4.0 8.70K Evolution® Neck DP158 & DP158F 3 294 6.5 6.0 6.0 13.04K A Evolution® Bridge DP159 & DP159F 3 404 6.5 7.0 6.0 13.84K A Steve’s Special™ DP161 & DP161F 3 390 6.5 4.5 7.5 17.89K A The Breed™ Neck DP165 & DP165F 3 325 5.0 7.5 7.5 10.14K The Breed™ Bridge DP166 & DP166F 3 356 5.0 9.0 8.0 17.07K The Tone Zone® DP155 & DP155F 3 375 5.0 8.5 8.5 17.31K A D Sonic™ DP207 & DP207F 3 390 5.5 6.5 6.5 11.96K A & B Evo 2™ DP215 & DP215F 3 375 6.0 7.5 6.0 12.81K A & B

DiMarzio Minibucker™ DP168 8 179 4.5 5.0 5.0 12.08K A & C DiMarzio® Hot Minibucker™ DP198 8 240 4.0 6.0 5.5 13.36K C DLX Plus™ Neck DP162 8 380 6.5 5.0 6.0 13.80K A DLX Plus™ Bridge DP154 8 400 6.5 4.5 7.0 17.28K A DiMarzio Soapbar™ DP167S & DP167D 8 270 5.5 6.0 4.5 8.60K B Virtual P90™ DP169 8 280 6.0 5.5 5.0 9.08K B P90 Super Distortion™ DP209 8 400 5.5 7.5 8.0 12.82K The Tone Zone P90™ DP210 8 385 5.0 8.5 8.5 16.77K A & B

PAF Pro® DP151 & DP151F 6 300 6.0 5.0 5.0 8.40K FRED® DP153 & DP153F 6 305 5.5 6.0 5.0 10.07K A Norton® DP160 & DP160F 6 352 5.0 7.0 6.5 14.01K A Air Zone™ DP192 & DP192F 6 323 5.0 8.5 8.5 17.49K A & C Air Norton™ Dp193 & DP193F 6 270 5.0 7.0 6.5 12.58K A & C PAF Joe™ DP213 & DP213F 7 272 6.5 5.0 4.5 8.26K B

PAF® DP103 & DP103F 4 203 6.0 5.5 6.0 8.09K The Humbucker From Hell® DP156 & DP156F 4 226 8.5 4.5 4.5 5.82K A Bluesbucker® DP163 & DP163F 4 265 6.0 5.5 4.5 9.85K C & B Air Classic™ Neck DP190 & DP190F 4 206 5.5 4.5 5.5 8.34K C Air Classic™ Bridge DP191 & DP191F 4 226 5.5 4.5 6.0 8.62K C PAF Classic™ Neck DP194 & DP194F 4 200 5.5 5.0 5.5 8.55K C & B PAF Classic™ Bridge DP195 & DP195F 4 210 5.5 5.0 6.0 8.71K C & B Virtual PAF™ Neck DP196 & DP196F 5 210 5.5 6.0 5.5 7.96K C & B Virtual PAF™ Bridge DP197 & DP197F 5 230 5.0 6.0 6.0 8.32K C & B EJ Custom™ Neck DP211 & DP211F 5 178 9.0 4.5 5.0 7.01K B EJ Custom™ Bridge DP212 & DP212F 5 200 8.5 4.5 5.5 7.85K B Virtual Hot PAF™ DP214 & DP214F 5 265 5.0 6.5 6.5 9.13 C & B

HS-2™ DP116 12 90 7.5 5.5 5.0 14.97K D HS-3™ DP117 12 93 6.5 6.0 6.0 23.72K D YJM™ DP217 12 93 7.0 6.0 6.0 23.50K D Fast Track 1™ DP181 12 191 7.5 5.0 5.5 5.72K A Fast Track 2™ DP182 13 321 5.0 8.0 7.5 17.53K A The Tone Zone S™ DP189 13 300 5.0 8.5 8.0 12.39K A The Chopper™ DP184 13 260 7.0 6.0 6.0 9.19K A The Cruiser® Neck DP186 13 140 8.0 4.5 5.0 3.13K A The Cruiser® Bridge DP187 13 143 8.0 4.5 5.5 5.75K A Pro Track™ DP188 13 275 5.5 6.5 6.5 8.15K

Model One™ DP120 14 200 7.0 5.0 8.0 11.31K DiMarzio Model P® DP122 15 163 5.0 7.0 7.0 11.30K DiMarzio Model J™ DP123 15 150 4.0 5.0 6.0 6.73K Split P™ DP127 15 250 6.0 5.0 8.0 19.16K A Will Power™ Neck DP145 15 200 7.0 5.0 7.0 12.50K Will Power™ Middle DP146 15 175 5.0 8.0 8.0 11.45K Ultra Jazz™ Pair DP149 15 250 6.0 5.0 7.0 12.30K Ultra Jazz 5™ Pair DP549 15 250 6.0 4.5 7.5 17.50K B

FS-1™ DP110 12 160 7.0 6.5 6.0 13.35K Class of ’55 DP119 12 110 9.5 4.0 3.0 5.75K Blue Velvet™ Neck DP170 12 120 9.0 4.5 3.5 6.08K Blue Velvet™ Bridge DP171 12 153 8.5 5.0 4.0 7.05K Red Velvet™ DP174 12 180 8.0 5.5 5.0 8.10K

Pre B-1™ DP112 11 170 7.0 6.0 6.0 14.23K Twang King™ Neck DP172 11 89 7.0 7.0 5.0 6.22K Twang King™ Bridge DP173 11 198 8.0 4.0 4.0 8.07K Fast Track T™ DP381 11 191 7.5 5.0 5.5 5.72K A The Tone Zone T™ DP389 11 300 5.0 8.5 8.0 12.39K A The Chopper T™ DP384 11 260 7.0 6.0 6.0 9.19K A Virtual T™ Neck DP411 11 98 7.0 6.0 5.5 8.08K D, E & B Virtual T™ Bridge DP412 11 161 7.5 4.5 4.5 7.40K D & B Virtual Hot T™ DP413 11 230 7.0 5.5 5.0 9.34K D & B

TREB

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TONE GUIDE

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BASS

TONE GUIDE

Blaze™ Neck Model DP700 9 280 5.5 4.5 6.5 15.80K A Blaze™ Bridge Model DP702 9 380 6.0 4.5 7.5 20.75K A Blaze™ Custom Bridge DP703 9 410 6.0 7.0 7.0 16.00K A Evolution 7™ DP704 9 420 6.5 7.0 6.5 14.09K A & B The Tone Zone 7™ DP755 9 385 5.0 8.5 8.0 17.86K A PAF 7™ DP759 9 220 5.5 4.5 6.0 8.14K B Air Norton 7™ DP793 9 260 5.0 7.0 7.0 13.34K A & B

Documents

1388 Richmond Terrace . P.O. Box 100387 . Staten Island ...jedistar.com/pdf/dimarzio/Dimarzio_2005_Catalog.pdf · players as varied as Ace Frehley, Al Di Meola and Paul Gilbert