All user reviews for the DiMarzio DP102 X2N

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.