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 ...