All user reviews for the DiMarzio DP102 X2N

I use it for 2 years

it is standard on my bc rich stealth Chuck Schuldiner. I played on a randall amp RG100 G3 and blackstar 104 6l6 I play mostly old school death metal.

micro oriented nag, what I like is the potato has this microphone is like a big bomb but little ^^. This is a microphone that contrary to what I could read a lot of mediums (5/6/4 / if I remember correctly) .Who is excellent in a register of old school metal, but also modern because it ' is a microphone that is clean enough. It debrouille both rhythmic soloist. This is a humbucker for metal therefore sounds clear pass.

I finire saying it is a micro done for the metal, with big asset for extreme metal. After the better to try. So it is with the conclussion that for anything I will turn the microphone of my stealth. If Chuck Schuldiner was using it is not for nothing

This test is only intended to compare the HS-8, which is equivalent in terms of output level.

I use it for a few days on a BC Rich Stealth Chuck tribute.
Stealth is alder and mahogany Draco.

The first thing that jumps in figure c is the medium back, the sound is mastar, leaving only n harmonics anywhere on the neck, even on the last boxes of Bourdon.
The sound of the X2N is a little less fat than the SH-8, strangely it has much less medium, but on fast planes it is a little more detail, but not more audible.

The bass sound, c is heavy, less rocky than the HS-8, X2N sound rounder, less rocky.
The highs are a delight, his thick, powerful and absolutely screaming as I was able to read for some users who have to test it on an amp to 80 euros.

At the grain, I try to compare the HS-8, but I confess that c is difficult to really talk about different grain.
I would say the first thing that comes to mind is that the sound of the X2N is "darker" unlike SD which is more "rock" more aerated, light but noticeable.

Both pickups tear, and preferably level, I do not always know which I prefer.

Certainly the SH-8 supercharged medium, very audible despite his drooling grain.

The X2N has the same power, the dark grain brings me to the new, note that the palm mute with it is more "clean", that I thoroughly enjoyed knowing that 3/4 of my game is played stifled .

Still remains to test some time to have a final opinion.

Note that the X2N less easily captures ambient unlike the HS-8 is more sensitive noise.

I use it for ten years, clearly play death (death group) associated with a marshall ...
It is very "medium" and sharp piercing, I think we really listen to the band death to get an idea because he used very little effect, it is really great for the tapping and sweeping, now sounds Modern access very serious, I doubt, it will not ...
I personal practically glued to the ropes and it is a treat, harmonics out all alone. And there are very specific, but this is by the guitar ... it is mounted on the original marilyn Vigier (the singer and guitar player of the Necrophagist itilisait before ENDORSE by ibanez ...) and this is anything but a slurry sound, it's very accurate given the speed in which he plays ...

When Steve Blucher came to DiMarzio, this was actually the first pickup he made, if I recall correctly. It was a totally revolutionary pickup at the time because nobody had ever really used that dual rail system. These days, you can see single and dual rail options for nearly every pickup manufacturer out there, so he was kind of the leader in that aspect. The pickup was very popular with the heavy metal players at the time. It was, and still is, one of the highest output pickups out there. The unique thing about this, besides the rail aspect, is that the pickup is very even sounding. Before, most people generally tried to push the midrange a lot to help drive the amp into overdrive more. This was because the midrange is where the guitar’s natural frequency lives, and everyone figured that, by boosting midrange, you can get more of that distortion everyone loves. The problem was that the guitar sound would become so mid heavy that it would sound very narrow. Steve decided to take another approach to this and simply increase overall output while leaving the rest of the frequencies fairly even. It was thanks to this dual rail design that he was able to achieve that. The pickup has output for days, and it works great for those who are looking for that somewhat even sound. The problem is that it’s not too dynamic. If you play something other than the heavy stuff, it might be too hard to control, and it doesn’t respond to the volume knob too well. The neat trick with this is to throw a push/pull on the thing, as DiMarzio suggests, so you can get this really neat split coil sound that should work for most genres out there. Still, the pickup is somewhat dated these days, and there are some better pickups out there.

I purchased this microphone 15 days ago. I hastened to try it in my apartment on a Bandit 112. Until the Dtonn nothing really compared my old config.
I'm all jou then in the studio of a friend o I keep my Ultra Plus.
And: Mga Potato dfonce that all ... It was of my lamps dcrasser something good.
I have a rather trash-style prog and I love the rhythm and well pchus dcoupes.
Problem now is the diffrence level with my neck pickup, which is home and rest is crap.
The least, I would say it's high volume tends to take too much ambient noise (normal is a microphone).
In conclusion, it is a microphone that is my style (for now).
I will not sound clear, since it is obvious that it is not for a.

I is 9, but a notice of Trashos.

I have this microwave for 2 years, I bought it used, mounted on an old Ibanez RG 550 yellow ptant well, all for 150 Euros. At this price the c'tait plutt INTERESTED.
This microphone is intended a priori those who want big sound. And the big sound there with X2N. May be a bit too much and it's the problem.
The most teachers my eyes: its output level. This is so important that it is difficult to mount the microphone with a simple ... I rsolu the problem by mounting it on a Kramer single microphone. So its no big problem, fairly clean. APRS I never EMG test.
As for clean sounds, it is not really made for. In dpart, I do not support at all, has cracked, bad crunch instead of clear, yuck! And I have ropes and moves away: clear sound correct (no forcment warm but correct), output level a little less important, less influence on the vibrations of the strings
In the end, the price I would do the same choice.
I should be ending for a little test on a Marshall 100 Watt lamp just to see ...
Otherwise I'd be curious to have an opinion of those who have split.

Then there is the slap! certainly not designed to play punk and other noise pollution, the micro deserves better than this! just listen to Chuck Schuldiner in DEATH play to realize the assets are well emg 81 less proud side.

I use it for 4 months and I really have nothing to reproach him, he has a huge output level! if not the highest of all the microphones, good precision across most solo (those who complain have a guitar amp or a carton of shit or not accurate in their game) harmonics out easily it the right amount of medium and treble and bass are a little behind exactly the sound I was looking, he speaks very well on my Randall 50W all-tube, this microphone is made to push the lamp in "total overdrive" not for the transistor so I dare not even imagine on a head amp Mesa Boogie style lamps must be Apokalypse ca!

if not I also tried the Tone Zone and Super Distortion that are not neglected in terms of power but has a different sound, matter of taste.

for me the price / quality ratio is unbeatable, since I bought 77 euro nine on the net when it costs 150 euro in stores!
it is obvious that the choice I would do without hesitate

I put 9 because he would have richly deserved to be active.

I gently rcupre a notification that I post on 31/03/2004

Micro bridge cramique bars sacr high output.
I install and test diffrent two guitars, a Lag basswood and alder Jackson. All happily typing on a TriAxis and 2:90, followed by a pathtique 1960A.

Well, a course, but it's better said, it is not clear are versatile and are quite catastrophic.

In clean, lots of treble, midrange and low bass. And too much gain to be versatile. In short, both play clean with the micro neck (config H / H).

This micro plays more in the category of the Bill Lawrence 500XL, and it looks like almost every feature in her. The EMG has the advantage of having a lower output level, so even frquentable issue DEFINITIONS sound and clean.

Saturated in the same bumps in EQ, Obviously, that clean. Again, normment gain. I got too. The sound tends to lose precision in mchamment, a slime. We must reduce the gain for rcuprer copiously in precision. In the saturated grain resembles a Bill Lawrence 500XL, precisely, which also tends bavouiller.

The sound is not too cold for a raisin bread (not like a DiMarzio Evolution for example, which I think is a real iceberg). But hey, it's not as fun I got a EMG81 or Duncan Distortion ... that does not rely on the highest gain possible, but more on .. a grain and a good apprciable DEFINITIONS.

To laugh, then I test on my old Marshall JCM900 4102
B'en l if I see finally intrt a microphone high gain: a is a little more potato when you have an amp with asthma

Finally, I did not feel any diffrence blatant as wood utiliss ... the same sound and the same grain almost feature for feature. It's a shame.

In short, I do not keep this microphone in my config, its grain I do not like (trend boiled trs sound fast). Too much gain, no grain what ... It does not have that hungry in the mds makes me vibrate (the Duncan Dimebucker and Distortion, DiMarzio Fred and Steve's Special). Nor the precision of these last, or any self-respecting EMG. A buy for an old amp rveiller not violent. Or just to say that history has a micro qiu sends so many mV (the arms room and horn portire cuccaracha ...).

I use it now for 6 months on a limited edition washburn (VERY VERY good for its price scratches misrable moreover, would lose wahsburn tunes??)

The particularity ptite I like most, if not the gain too high I'd say the advantage over an emg (yes I'm anti-emg DSOL ...) is the latter is much more quilibrje speaks at least on the guitars mahogany) at low, mid, treble, may be what the previous ones opinion "deal" of drooling ...
M'enfin personal drool at all if only one is clean and square in his game ..

I tried the emg, of Seymour, on the other Di Marzio and frankly I like the one for distortion. The sh-6 is great but from where it is in G matre, the LA, the bin is above X2N, SI, c hearts hearts, and above the fact that I no longer trs t see ... As you may have guessed, I play trs serious, and in this register, the particularity trs X2N a pleasant ==> when you drop the gain (yes you SARS qan even a little metalheads tkt not) it not only gain a ceremonial pais trs, trs but prcis 8-| incroyabl enough ... I play the mo (mem JAIM if not) as easily as the death (I practice a lot more) while going through the no (its not hurt and it's much more groove than the other music ... I feel a bunch of obtuse of mind will fall on me lol). The condition for that to happen? Be trs prcis in your game before you buy! Much like the above HS8 ... Except that the HS8 has the advantage of having a clean respectable trs trs! I use it also on my neck in my config stroke X2N

The ratio price quality? too much as usual 'in the habit Di Marzio ... but at least the quality is l!

9 because it is not versatile but asked not to be ...

I use it for four years, with a jackson king V std (not the best of the best), I was looking at the micro mtal large output level, I found ... coupled with a dimebucker neck, well, I found my son ...
much much gain, but a bit mushy and not the prcis the world ...
but try to look for the emergency that big sound.

addition / complment 11/2007:
hello!
in fact, to be honest, I post this notice but I come back a little on what I said ....
into the easel x2n suits me well, even if a bit messy but gives power chords agreements terrible!
I play the mtal obviously, in the style heavy (annihilator, megadeth, Loudblast ...)
I play a jackson king V std (bof. ..), and the bridge pickup does nothing transcendent, the dimebucker serves me right on the solo because it gives me a more net less rough but not aggressive enough, the gain suffers badly (normal, I tell you handle set, but even when ....)
I test rack, but good!!
Briefly, I used to solo parts rather than metal hard rock ...
a good quality scratching I think it can really give round ...
I play on a rack consisting of a peavey 50/50 power amp in, and a peavey 2 pramp RockMaster and a multi effects Rocktron pirhana + Multivalve a cabinet peavey 412js
I advise the X2N Di Marzio allowing a monstrous rhythm but in the PCHE prcison and treble ...
voila, it might help j'espre ...
a +!!!! nico

3 MODELS Possdant "signature" of Dimebag (Dean Razorback two-tone (SH-13 pickups and Dean), Dean Dime From Hell (Bill Lawrence L-500 and SH-59 '), Washburn Dime 333 (SH- 13 and SH-6)) j'tais finally fed up with one of them: the Razorback. In fact this guitar has the most aggressive look, but once branch, the power was down, compared to two others (not in absolute terms of course!). I wanted to put the warbling at the plumage.
Change for 2 Dimarzio pickups: the neck and superdistorsion ct ct X2N easel. Let us on the X2N: SERIES High Power Tone B5, 5/M6, 5/A6, 5, output level 510 mV! On paper the promise is great: it seems to be built for the mtal and (very) large distortion.
Once connected, no dception possible. Hair and tattoos grow spontanment's call VERY big sound coming out of the microphone! The same seems Dimebucker back and at least bte Thurs gal with Bill Lawrence!
But what about the precision? All dpend! Branch on my Mesa Boogie Recto-verb 50 (single correct), do not worry. The pre-amp the extra cash input signal without fail. The clean channel is clear (it's not a Stratocaster!) And boosted channel ... sends tons of gain without becoming incontrlable. Less than prcis EMG, of course, but what a personality and power phnomnale!
Branch on my Hughes and Kettner Matrix 100, things get much dgradent. The clean channel and the channel bve dbord seems saturated by the extra power that becomes difficult contrlable. Must then quickly review the lower the gain of pre-amp, or even decrease the output level of the guitar! Straw!
In short, if you want the trs trs heavy Do not hesitate: the X2N (and his friend the Super Distortion) is a common alternative to traditional but SH-4/SH-6, EMG-81 / 85 and other associations (SH-59 ', SH-13, SH-2N, etc. ...). Compared with EMG, it becomes more characters it loses precision. Compared with HS ... it's another world matter saturation.
Dimebag would not deny that the association

I've had 4 or 5 years on a copy of LP (a Samick ... yes I know ...).
I bought this old when I rcupr scratches without microphones and I played the vaguely hardcore oldschool (raised fist, Youth of Today, ...).
In the era I played on a JCM2000 TSL100 Marshmall I had with this mic a much better sound (improved seed, palm mute more clean) on the channel crunch pushed back on the lead (or the rigor OD1 mode but certainly not the way OD2).
It is my opinion intrt fMeasure output level is that you can have a well saturated even on an amp that does not have much gain and dynamics of micro grate allows the gain on a beach intrssante only with the right hand (for right-handed).
Inconvnient: I bought a Jacques FB2, and although the output level of the pedals activates silent infrieur bypass ... know. But no problem with Boss.
So on my old Samick (bought 500 bales of the era), I have one in the neck position Duncan SH4 (RCup) and a DiMarzio X2N the bridge three times the price of the guitar in microphones. It's silly, but not before I disassemble to know about what other scratches up.
Neck position, with a high enough moves away SETTING THE ropes (7 or 8 mm) for the levels are quite X2N cohrents and sounds blend well (even in the split), the level of X2N output decreases and it becomes more precision. It is true that not X2N normment low but allows for a more saturated fat in prcis in a config classic LP (HH) has worked well and c ' is quite versatile if you split an ACBL but it is always true with a high degree.
Note the Difference in level between double and split is important.
It seemed a good choice the era but it is true that apart from this kind of micro graouh has little intrt, it can Integrates a versatile mic config but always with the component "graouh". That said it should work better than a scratch rsultats Coren plywood.
So I put 8 because it is what trs why he does Designed also for the lack of flexibility must admit (though another partner when we can micro m I get by in a lot of styles).

Used for 8 years on an Ibanez RG270 well as custom bridge pickup and neck pickup in this micro level offers a huge output. This helps to tease all styles of metal with no problem. It is very suitable for a micro solos.

Most:
- Can effectively saturate tube amps,
- Very good sustain,
- Color adapted to the metal,
- Grain nice, very angry,
- Micro excellent also for the shred stick (see Mr. Romeo)
- Very little hum.

The -:
- No clear sound (it saturates and it is not pretty)
- Significant difference in level with the other microphones so difficult to set a coherent
- Captures all the ambient noise at high volume, we can sing in !
- Not very accurate (but not a defect ...)

I tested many models of microphones (DM, SD, EMG, ...)

Value right no more.

With the experience I would do this choice for the guitar in question. On the biggest gear I use at the moment of EMG (81-85) in assets and I eye on the SP-Custom in liabilities.

I put 10 but only for metal solos, you know why we buy it.

This notice does the micro and optical dan uen death / black / metal trach

I use the microwave for 1 year on a kelly std of 96, I play on a dkmg with emg hz.le all on one body warp7 2 (amp transistor)

Quite frankly I do not know if it comes from the scratch but there is no comparison, the X2n serves prhistorique relic, a good personality but no gain in the emg.

I am extremely scptique even so the result is poor, I wonder if the guy who sold me the guitar with pickups already dessu Mount would not have the bullshit of leaving the guitar against the speaker of his amp and the pickups are the blow t dmanitiss.

I would have to mount it on the dkmg to see the result but I'm too lazy.
at least in the current state of my experience I would not recommend this microphone.
the sound is "empty" come to some group of old donkeys of metal 90. It can be fun but for those who want a modern sound ACSD your way.

Original microphone of my Vox Custom 24, I have used for too long. I can confirm the usual comments: hnaurme output level (so that some gear - pedals, amps ... - are struggling to follow), top-edged medium trs (particulirement on a guitar all-able, so dj bright and pretty 'tight' at the bottom), a lot of bodies at the bottom, tend to turn everything into a big pure and clear sound crappy (there is no other word). It suited me just pat prs to send in a punk / grunge / merger, but soon in April more than limit for anything else. What I ultimately the most silent frustrated not to find a branch on its own once my guitar - that is meant unplugged. I rcemment replaced by a pair of x2n bareknuckle crawlers, and it's totally incomparable. The only thing I regret, possibly, is the ability to bring out the harmonics x2n ... In short, if you like buggers, you can apprcier the microphone. Otherwise, go your way ... In any event state for that price and the same kind in the raisin bread / ultra powerful, it is much better (notice to mtalleux, bareknucles also micro cramique surbobins .. .)

In the late 70s guitar players were looking to push their amps harder than ever before, they wanted as much gain as they could get and DiMarzio rushed to satisfy this need. To help end the madness they created the X2N pickup. The X2N was designed to push the old-school Marshalls to melting point. It was the kick in the face guitar players were looking for back then and it still is now.

The X2N is voiced relatively flat with a little extra high-end for clarity so be careful. If you put one in a bright guitar it will sound extra bright. I would recommend it for Mahogany guitars mostly. The X2N is designed to be used in the bridge of a guitar. It would overpower the neck position. Some people have found the split tones useable but I have never tried. The X2N was the undisputed king of output for many years and still runs with the best of them. This pickup is suited for the heaviest of music where clarity with high gain is demanded. This thing is so hot it may push your clean channel. You may have to roll back on the volume to get your clean tones clean. Another problem is that the dual bar magnets are so powerful they may cause excessive drag on the strings if your pickup is set too high this may slightly lower your sustain. Chuck Shuldiner of the band Death used this pickup through his whole career. If you listen to any Death album you will hear the X2N's trademark bite.

If you are looking for a pickup suited for heavy music you should consider the X2N. Its nearly half the cost of an Active pickup with the same output. With so many people using active pickups if you want to sound distinct the X2N may be the way to go.

I have to say, I was in a huge heavy metal phase before and thought this would be the pickup to get. The absolute highest output pickup available in dimarzio's product line. I installed it with another dimarzio single coil in the neck and was immediately disappointed.

The cleans were nothing to write home about, really bland and had no headroom. Which, wasn't suprising, this was not the intention of this pickup being created. It was meant for high gain distortion. I found it quite disappointing.

It was gainy yes. Was it clear and tight? No. It had a lot of distortion but felt like it didn't know where to go with it and was just all over the place sound-wise. It was literally just pure distortion with no clarity, just blazing...gain. I tried this though a boosted JCM800 and didn't like it whatsoever. the X2N was definitely a 'modern' sound if i had to reference it to something. It just seemed very bland, and not tight. Complex chords are indistuingshable, it was a thick sounding pickup but it still had some highs, sterile-like highs. I did not try it tapped, I gave up on it after a few weeks trying to get it to sound good for me and it did not.

I wouldn't recommend this pickup for anything, maybe some garage-noise band? If you play downtuned guitar I think you'd get nothing but a mess. A lot of metal pickups nowadays have improved, they're clear, yet tight under high gain and still dynamic. And this pickup delivers none of that. Yes metal is generally lots of gain and mad riffage, but there's still dynamics to it, I believe so anyway.

The DiMarzio X2N is a balls to the wall, aggressive pickup that really slams your front end. If you’re looking for a versatile pickup, I would not recommend this. However, if you’re a metal player, it would be worth considering this. It contains two rails instead of pole pieces and four conductor wiring.

The X2N was made in the late 70s in an attempt to really take the pickup world by storm. It was meant to be the most powerful pickup on the market, and it’s still one of the hottest pickups out there. The tone itself is fairly even with a slight top end bite going on. Chuck Schuldiner is a very popular use of this pickup, and if you’ve ever heard any of Death’s albums, you’ve heard this pickup in action. Michael Romeo recently started using this pickup in his Caparison guitars as well.
This is strictly a bridge pickup. I’ve seen some people put it in the neck, but it’s just so powerful that it’s hard to control without lowering it like crazy. The pickup works good in most woods, but I find that it sounds best in mahogany more than anything else. In basswood, it’s alright, but basswood guitars can get thin sounding if they don’t have the correct pickups in them. Putting it in alder gives the guitar a nice bite.

One thing people don’t seem to mention is that this thing sounds awesome split. When you add a push/pull or mini toggle and split it, it’s similar to a powerful, clean single coil kinda tone. Parallel gives a real interesting tone as well, so it’s actually pretty versatile if you have the means to split it. I have a feeling most will simply run it in series, though. After all, that’s’ where you get the most power and aggression.