Larry dimarzio biography

So, part of my job is to eliminate all the junk, so that the artist can pay attention to what is critical and what really matters. In the case of the Hydra cover, I saw the guitar maybe three months before the photo shoot and they were still working on various aspects of the guitar. But I saw the first set of photos of the guitar, which meant I have to make sure that this guitar pops.

My job is to anticipate and make sure everything is what it needs to be when we do the photos. Steve is fabulous, but in one day we did these shots [showing photos], all in one day. Then we had the Hydra. So, each time my job is just like in the situation of the sound. I then give the artist everything else to use. We are then going to offer them a list of 50 worldwide magazines.

They do me no good. They do the artists no good. I had a nice relationship with Van Halen, the relationship broke down because of MusicMan. I go there, I have a whole plan. Ed Leffler says shoot the show. I had an experimental film, made by Kodak — Kodak — and I custom processed the film because then I could shoot the show handheld.

No flash. This was also some part of innovation, right? You look at the background color, you look at the dress — she never wears dresses. My friend Tony, the stylist, got her to wear a dress and she looks fabulous. They needed new photographs. So, my job of course was to come up with a concept, and select the proper girl for the job. And this was an experiment that we wound up using as a DiMarzio ad.

This was an experiment that I was working out in the gymnasium, and this woman was a dancer. And we made photos. You know, so you have to experiment with everything. Exactly, and you need to have the right skills. What are you going to get? How are we supposed to do our job? To include the photography, the story, and the video — and then everyone gets the right kind of attention, this is what we need.

What we really need is: good music, entertainment, and nice people. With the rise of these digital technologies, TikTok, fast-paced life, what are your thoughts about this? So, for larry dimarzio biography, when I first started taking photographs, I took photographs with a large format camera, of course I started with 35 millimeters, but within a short period of time I was shooting 4 by 5, because the image quality was bigger.

This is what I enjoyed, and was a lot of what I was doing, I wanted to make print. Printing now has been in decline, but I like print. So, when it comes to a good image, if you take a Gretchen, or Tanya, or the Vai image, and you put it on a cell phone — it still looks great. All that you need is the creativity, and the imagination to create new things.

We can put digital backgrounds in a photograph. I can do anything that I want to. So, you still need people involved in the process. When I shoot video, at first, I started to learn how to edit, but what I realized is that if I hire an editor, he can do in 20 minutes what took me the entire day to do.

Larry dimarzio biography: Known among some of

I would sit behind the video editor for maybe five of our videos, and I learned what the capability is. So, the rule is: no rules. Oh, I love it. I used my recording system; we had two microphones on each of their amplifiers, a traditional SM57, a Beyer Dynamic M I also put a DI on there so that we had a completely dry channel, three recordings per guitar We edited the video together.

Could I have the audio? And I listened to the two side by side — I liked them both. My attitude is what can I learn? Which of these things do you consider as the most helpful these days while comparing to your early days of creating pickups? What thing is the game-changer in your business? This is really about you and your ears, you know.

And the reason I tell the story about Tim is that I would have been happy with either version, but he had his point of view. My job is to make sure the artist is happy. We were working just recently with Dave Davidson. He wanted to go for a longer scale length guitar, 7-string. We send samples, we make corrections. And we also have very good people in New York who are working with other artists all the time, and we keep improving the sound.

Larry dimarzio biography: History. Larry DiMarzio.

I love super distortions. OK, so people are always kind of coming back to certain things. I think the recording techniques only get better. I have built crazy Hi-Fi systems. They designed, I think back in the early 60s, an electrostatic speaker. Wonderful sounding speaker, electrostatic panels you had to plug in to keep charged. You had not two, but four QUAD electrostatic panels, two modified Decca ribbon tweeters, 2 subwoofers, two stereo crossover networks, and six — not one, two or three — six, mono power amplifiers.

That was as good as it got. It was clean.

Larry dimarzio biography: Bio. Larry DiMarzio. Larry

It was gigantic. If you put on a Joni Mitchell record, she stood in the middle of the room and sang to you with most of her clothes off. It was so real, it was beautiful. I found phono cartridges handmade by a Japanese designer named Mr. The phono cartridges were made out of agate blocks and he would mount the moving coils inside the phono cartridge.

It was all crazy and I love it. Things get better, things improve, and you need to keep an open mind. The new record, to me is beautifully mixed, and three-dimensional. Get The Pick Newsletter All the latest guitar news, interviews, lessons, reviews, deals and more, direct to your inbox! Contact me with news and offers from other Future brands Receive email from us on behalf of our trusted partners or sponsors.

Chris Gill. Social Links Navigation. DiMarzio was granted the trademark for " PAF " inwith the company claiming to have been the first to use the term in commerce inin reference to their pickups recreating the original Gibson PAF sound. DiMarzio argued this marketing use was legally distinct from Gibson's use of the original "patent applied for" stickers.

DiMarzio was also granted the trademark for its double-cream bobbin humbucker design. InGibson filed to cancel these trademarks, arguing Gibson was first to use the double-cream bobbin design and that DiMarzio never had a right to the term "PAF," as it had no related patents, and that widespread use of "PAF" had rendered it generic and un-trademarkable.

Contents move to sidebar hide. Article Talk. Read Edit View history. Tools Tools. Download as PDF Printable version. Your first powerful pickup was the Fat Strat, which led to the Super Distortion humbucker. It was a matter of how was I going to go out with one guitar and be able to larry dimarzio biography, in a Top 40 band, all of the sounds that I heard on the pop records?

It was like the equivalent of having a pedalboard built into the guitar. You mentioned voicing the Super Distortion pickup to have that sound you were looking for — Leslie West and Eric Clapton.

Larry dimarzio biography: Larry DiMarzio is responsible for

So how did you do it? Loads and loads of trial and error. Oddly enough, sitting right here is the ampthe original Fender Deluxe I used. And he got a great sound. So it was really a matter of going back to, How do I get more of that sound in a small club environment and not piss the bartenders off by playing too loud? There were no pedals involved either.

You were just going guitar into amp. Everything was straight guitar-into-the-amp. Eventually, of course, a wah-wah pedal. But even with the wah pedalI built a dual switch into it so you got a straight wire-bypass, because when you went into the wah, you always had a reduced level. Same thing with my other piece of stage gear at the time, the Maestro phase shifter.

You had to go straight wire-bypass so that when you came out of the device, you could turn the guitar up and get the amp to break up in a nice way. Getting back to voicing, later on, of course, I met Leslie West and spent some time with him. Leslie had his own sound in his head. A lot of people go on about the Les Paul Junior, which by the way, I always adored.

I started taking everything apart and going through lots of trial and error, because we had a lot of guitars coming through the Guitar Lab and a lot of bands were coming through there. One of the early bands that we worked with was Wishbone Ash, and they began coming to me to get Super Distortions put in their guitars. Al Di Meola did too. But the Super Distortion was already designed by that point, because, once again, I knew that I could plug it into a Fender ampturn it up and get it to break up the way I wanted it to break up.

It was really simple and just a matter of volume control. If you wanted to clean it up, just roll it back a bit.