All user reviews for the DiMarzio DP159 Evolution Bridge

I bought my first Dimarzio Evolution pickups in 1997, for an S,S,H basswood 1996 H,S,H Jackson JDR Reverse neck, mahogany 1984 H,H,H Randy Rhoads/ Jackson and an alder 1997 Jackson PS4 guitars.
The bridge are rated at 13.84k ohms and 13.04 for the neck pickup.

On the basswood S,S,H routed JDR Jackson, I have a Bill Lawrence L-250 pickup on the neck position, a Dimarzio Fast Track 2 in the middle and the Evo in the bridge position.
It delivered ( luckily) the Steve Vai sound in the bridge position. It delivered the DLR's Eate'em Smile sound, Passion And Warfare and his White Snake Slip of The Tongue tone, down cold.

With the alder H,S,H Jackson guitar with Evo neck pickup, Fast Track 2 in the middle and Evo bridge pickup, it turned out be a total Thrash monster guitar tone, much like Metallica's Master Of Puppets or Pantera's Vulgar Display Of Power Assault.

The mahogany H,H,H configured RR/Jackson with guitar w/ three concentric stacked pots, made that guitar versatile enough to play 80's Hair Metal, Thrash or Classic 1980's Shred Guitar tones.

The bridge pickup, like the neck pickup, are made to kick your amp into total over drive, give you fat rhythm and searing pinch harmonics with ease, when playing leads .

The neck is very hot and sweetens up when you lower the volume knob. Just add a treble bleed cap to keep your high frequencies and you can have flexible tone machine, especially if you add a push/pull or push/push or Seymour Duncan Triple Shot pickup ring , you can get a beefy semi single coil sound.
With that kind of circuit on Evo neck pickup, you can get a great acoustic guitar sound with a acoustic simulator pedal or Modeler patch or program. And achieve a Jumbo Acoustic sound.

Both pickups are very sensitive to volume, tone knob manipulations to achieve different tonal variations and the pickup is sensitive to bridge, nut materials and series, parallel or different pickup splitting circuit that you install.

The DP158 (bridge) (DP159 neck for version), "Evolution" for short, is a micro ceramic 4 son.

Adopt Steve Vai, more rput for his solos shredder for his passion for occarina and chamber music.

In lead, he dmnage: tradition at DiMarzio pickups the faithful restitution, an adapted sound spectrum style, low prsentes and muscles, aggressive microphone. Quite lev gain fairly easy harmonics out. The sound remains prcis, it is never muddy.

Rhythmic, it's something else. In clean, one picks up a treble graillon garish, in short not pleasant at all, less than curb it vigorously with EQ and a bit of chorus.

In rhythmic saturated b'en is so so also: big rock, a happening, but ds that EQ is found to nurse hairpin (large hollow in mdiums), it does not comfortable, not suited what.

Steve Vai has raided other less extreme microphones, "The Breed" DP166 (bridge) and DP165 (neck). Less extreme, but that's not the models "Jazz" ...

In conclusion, I think the Evo, over time, has an unpleasant personality. And it is not versatile. It sends the gain, but ... it is cold enough, not fabulous without clear effects, saturated it does its job, but it does not really me there is not enough "singing" .dropoff window

EMG 81 is far more frquentable (yes, that micro coldness of reputation is a blaze in compar Evo !!!).

A buy knowingly so.

Micro installed on a somewhat modified PLO Axis Floyd (new maple neck, rosewood fingerboard, Schaller floyd) basswood with maple veneer. If you are a shredder or lead guitarist in a metal record, it is happiness. It has the accuracy and bite, some heat for this register, which is relative. This is the micro Steve Vai, so no surprise, it was not the heat of a bang for the blues or jazz, this microphone will be off-topic. Ceramics offer a good level of output, above average, but not show draft. The microphone is more balanced than we think, even if it is mainly lead it reveals its potential. You will not find the bassy and stretched a Tone Zone-response. A good microphone, and even very good in its scope, which certainly still versatility, but still a must for shred and lead ultra saturated.

Steve Vai has been a long time DiMarzio and Ibanez user. This is probably the most famous of his pickups and is the one everyone thinks of when they hear Steve Vai’s tone. If you’ve ever seen his white Ibanez guitar, then you’ve probably seen this pickup in action. It is a high output pickup, but it still has some dynamics to it. Granted, there are better pickups out there in the dynamics department, this still had more than some of the other DiMarzio offerings at the time. It has a lot of midrange and high end grind. That’s a common complaint that people have with this, actually. He originally made this with the intent of matching it with an alder body, but I’m not sure I totally agree with him in that aspect. To me, this pickup suits something like basswood or mahogany better. I would never use this pickup in swamp ash for fear of the treble becoming too brittle sounding. The pickup has some nice bass, and it’s not so overpowering that it’ll muddy up your tone. The pickup gets compared to an EMG 81 quite a bit, and there are some similarities between the two pickups. Both are very tight pickups, and the Evo is more dynamic overall, but they’re still not quite the same. The pickup is very good, but you just have to be careful what guitar you put this in. If you put it in a guitar that’s bright sounding, it’ll become too overbearing in the high end and kill the audience’s ears. One other trick to do would be to run a darker sounding amplifier, kind of like what Vai does. They’ll naturally complement each other then. I used this in an HSH configured guitar, and when it has the auto split thing going on, it matches nicely with the middle single coil for that old school stratocaster sound.

It's been about 6 months I use my style of play is pluttmtal (Dream Theater, Extreme, Satriani, Vai ...).
Disto:
Huge potato in the bass
Her trs prcis (amateur hardcore sounds bold type on fly like the plague, for all lovers of good disto mtal is a good plan),
Submitted acute but not imposing,
Littralement harmonic singing with a good amp lamps.

Its clear

Not great double crunch because it very easy, in a intermdiaire not bad but not great.
I think Splitt intermdiaire sound position must be good, but I could not try because my Push / Pull is dead.

There are some features of "his Vaquot; in disto: harmonics, grain (if you know the song Bad Horsie, you'll know what to expect) and the bass.

For fans of the versatile 6 I would put him at the moment
For fans of metal is the 9 / 10, it would have 10 if not n'tait typ.

Having an ibanez jem possd 7V WH (MODEL signature steve will I tested this microphone and his neck version in the best conditions since this guitar and these pickups crs t have to work together . Ct distortion, which impressed me most is the enormous and incredible precision POTATO it offers: the grain is tightened trs rch, law, aggressive, powerful in short, a micro size for big sound, but also rev-edged sword. It is therefore the opposite of a tone zone, for example. We must go at once molo with the amp and the gain if has become too much. At the EQ, it is quite equilibrated (see website DiMarzio). What makes some people are too loud is that its prcicion, its power and ct make howling notes jump out of the enclosure, such as acute low (ct o the screaming, the treble as unbearable for our ears naturally high volume) Harmonics are also incredible, so they howl! If you plug the guitar into a marshall (whatever they may say) with a bit of reverb, VAI is the sound live. It would be crazy not reconnatre this sound, provided that one is a fan. In terms of clean sounds, although sr must tweak a bit, because the EVO is trs trs aggressive crunch so it quickly. That said that is pretty ct "the edge" of the saturation. To get a clear home clear the splitter in parallle with another mic if possible, and rebelote: the sound is clear (with some good effects sr) . OK it was not the sound of Go so simply, but it's quite striking because the sounds are recognizable obtained immediately. (compare the album Alien Love Secrets is close trs) Finally, TRS is a really good mic for the big rock (gently on the gain of the amplifier!) as for the metal. Be careful not to install it on a skyscraper in its crystalline branch e engl amp type or Peavy, the sound will be too stride.

Rcup 'with me, 27/03/2004
The DP158 (bridge) (DP159 neck for version), "Evolution" for short, is a micro 4 cramique son.

Adopted by Steve Vai, more for his solos rput shredder for his passion for occarina and chamber music.

In lead, it dmnage: tradition at DiMarzio, microphones restitution Fidler, a sound spectrum adapted to the style, and low Submitted muscles, a micro aggressive. Gain enough lev harmonics out fairly easy. The sound is prcis, it is never muddy.

In rhythm, is something else. By clean, we pick up a screaming treble burning fat, not enjoyable at all short, less than the curb with a strong EQ and a bit of chorus.

In rhythmic saturated b'en is so so too: big rock, a happening, but we attacked the ds palm mute barbarian, he is not comfortable, not what suited .

Steve Vai has raided other microphones less extreme, the "The Breed" DP166 (bridge) and DP165 (neck). Less extreme, but it's not the MODELS "Jazz" ...

In conclusion, I think the Evo, over time, has a personality dsagrable. And it is not versatile. It sends the gain, but ... it is quite cold, not fabulous without clear effects in saturated it is doing its job, but it does not really me it is not enough "singing". And really too much treble.

An EMG 81 is much more frquentable my opinion (yes, the reputable micro coldness is a fire compared to Evo !!!). Or otherwise, in the passive b'en a Tone Zone.

A purchase knowingly so. Personally, I dtest.

Yeah guitarematos: the sound of steve is his fingers, the body of his guitar (Start type: alder), a pulling strings super low ... but first his fingers still happy for us, right?

I installed an Evo on a rare guitar, a fender telecaster custom shop setneck floydrose (1996). In short everything a guitar mahogany, neck-through (one piece for the body and the handle) a table maple, ebony fingerboard, pickups and Di Marzio an original floyd rose then. I prefer to tell you right away that the animal sounds a bit unconventional, or like nothing else. In the best case, it can be closer to a Luke I, but far back and a moonless night ...

Well actually, scratch that does not outright, except for collectors fendériennes quirks. The mahogany with ebony fingerboard and Floyd, sounds (would you believe?) Super mega cool. As I have a little pride, and I can not buy a 200 euro stew, just because it is absolutely sublime, I have an Evo slammed in his mouth and ... Pan in my mouth: the microphone was saved!

Well, I will not do Bellemare for three hours. This microphone is the absolute antithesis of a duncan. If you do the blues, I do not even know why you're reading this post, it's so obvious that it is not for that. However, I found it much more versatile as they say, respectful of the attack, an absolutely monstrous presence in the mix for the soloists, it makes even the solo play. In any case I was not crushed by a monster power is largely manageable, and I is not metal.

Recommended for lyrical soloists (the treble do not pouet when left ring, which is not given for all microphones ...), then metal, jazz rock (split, we just sent sacred casseroles funky , and lead, welcome Cusson, Winsberg, Gambale, etc.). shredder and course. Try it on guitar with more character, to promote the lead, but avoid the ash guitars, well, it would be really loud.

Well it will be 9 months that I have (installed on a JEM7vwh, serial what!)
Frankly I see a lot of negative opinion, and I know why .... this micro really depends on the type of violin that we have ...
I quote the first view, as what we can not have the sound of Vai, I'm sorry but that Vai DiMarzio designed with the Micro ... if you install it on his guitar on a € 500 ...
Good return on the technical side.

in His Light: This is not his strong point, but there are a lot of warmth and roundness, for sure it saturates quickly but I'm happy! There are still a good sound (on jem There's a simple micro center dedicated to the clear, or I put the selector in the intermediate position to send her more potato)
Drive sound: This is the beast that shows his power! Microphone feedback soon! Its really sends potato, reacts much depending on the attack that we do with the pick! Gain can be reduced easily without losing volume, so it is very interresting!

General Notice: really great as micro, certainly the type Vai, but I am still impressed by its versatility still ... Its smooth, soft, powerful at a time) If you want to hear a sound of this microphone, listen to the song Hand On Heart of Vai from the album Fire Garden

that is all is said!

Keep Rockin '
PS: Use a high-end guitar if not its useless
(Is like putting a V12 engine in a 2CV ... ^ ^)

I used since the 1-year

my favorite c is its dynamic, it is very reactive to the game and feel, very very specific distortion, I do not understand those who say that it is not suitable for the n metal, c is about that if c is a damn rotten guitar amp and play a DNAS no AC adapter is not sound metal, but in a gear ALMOST worthy of the name ca people very aggressive, very precise and sharp and trs ca spring well in the mix, c is never muddy.
not what I like: clean sound, really suck, c is acute, cold and screaming, the worst mic that I've never had to clean.
j've tried a bunch of other DiMarzio some of Duncan and EMG pickups always kind of metal and I would do is choice in this category because c is the best tone with the area may be a little runny but also has its Chram The DiMarzio is much more interresting than it did a emg grain him.

I have this microphone for less than a week to replace a jeff beck on my USA Jackson Soloist is little to give an opinion, but I'm starting because I do not agree with what I ' I read here.

Premire is a micro indniablement fairly typical of quality but we can not say it's a bad microphone.

The strength of the micro is its precision, was lucky, this is their request PRIORITY!

It is trs prcis, the notes are and Dfine percent good, and sustain prsence are such that the notes they are sufficient same: no need for a rack ET to ring your solos.

Clearly, it is not exceptional but not bad either, for a humbucker destiny priori the saturation, I find its proper trs clear.

In saturated it is intended to plutt solos evokes the reasons above. Unfortunately, I find it a bit too aggressive and there is a bit too mdiums. That said, the rest of the hardware is perfectly suited to use as well as solo excessive harmonics. Overall employment is fun trs.

In rhythm, it's not fantastic, the sound sounds a little electrical and grsillant limit. It remains nanmoins in the average.

DSOL but I can not use the splitter.

It is now all the problem in the RSID adquate choice between the microphone and the use you make of it.

If you are your only guitarist in a band and you spend 90% play power chords, probably a tone zone or a super distortion will do.

on the other hand, if, as I do, you evolve two guitarists that you get plenty of solos and the other guitarist is dj Submitted in the low rev, then the c ' is very well, mediums complteront trs mix well and solos pierce without difficulty.

It sends a lot of treble, but not too much as I have read is trsgrable, for use on an unconvincing thrashmaster, frankly I do not think it's the fault of the micro ...

Level guitar I had and I still possde few, so I have an exprience on pickups (EMG, Gibson, SD, Dimarzio, etc.), the one is not bad, but its use is therefore targeted primarily adpend you.

Good quality price for me since I bought it used.

I made this choice becaufe the occasion makes the thief, I found a breed or a tone OCCAZ area, I might be made a different choice.

Unfortunately, how we can not change indfiniment mic on his guitar, I'm not sure I picked the right, but one thing is sure, it satisfies me for the moment.

If in the end, and some RPTS After a few scnes I'm from, I will make a fix.