All user reviews of 4/5 for the DiMarzio DP159 Evolution Bridge

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 He originally made this with the intent of matching it with an alder body, but I’m not sure I totally agree with him in that aspect.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.

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.

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.

Steve Vai hooked up with Dimarzio a few years ago to create Steves ultimate pickup. Two years later they unveiled the Dimarzio Evolution pickup or EVO for short. The EVO features a 4 conductor wiring setup connected to a pickup with ceramic magnets. It has Dimarzios dual-resonance configuration which they claim produces more harmonic overtones than the conventional pickup. Vai wanted a particular sound from the pickup and the proof is in the results. The EVO produces a tone that is uniquely Steve Vai, but this may not mean its a good tone for you. The pickup is voiced to exaggerate the high end and mids. If you are having trouble cutting through your bands mix this pickup will cut through like a samurai sword but cutting through the mix and actually sounding good may be two different things. With the pickup itself balanced so far towards the high end it make make some guitars unsuitable for it. Putting this pickup in any guitar made of bright wood may result in some unpleasant tones. Even if you put it in a guitar with the right kind of wood that balances out the tone your amp may not be suitable for it. The modern high end sound may not work with some amps such as Marshalls or older style amps. When these amps were designed the guitar pickups at the time were low output and not voiced for the frequencies the Evolution is voiced for. The pick up may not even work with some players. Because it is so clear and defined mistakes that you can get away with on other guitars may come through loud and clear with the EVO. So if you just got to have the sharpest, most precise pickup on the market and have the skills and gear to support it, the EVO pickup may be the one for you.

The Evolution Bridge pickup was a humbucker created for Steve Vai and his signature Ibanez Jem guitars. Unlike the neck, this is a full on high output pickup that’ll drive nearly any amp into overdrive. Evolution is a big of a misnomer as this pickup doesn’t really sound like an evolution fo the PAF like the neck pickup is. It has its own little vibe going on, and it tends to be a very love/hate pickup. Like nearly all DiMarzio pickups, this comes standard with four conductor wiring, allen head bolts on both coils and a ceramic magnet. The ceramic magnet is part of this pickup’s secret. I’ll get to that later.

The DiMarzio Evolution Bridge is a pickup for those wanting very high output, note clarity, insane harmonics and a screaming tone. If you’re a sloppy player, you’ll probably hate this pickup. It has tons of note detail, so it’ll show any little mistake you might make. It’s very compressed and doesn’t clean up that great, so it’s actually probably better suited towards heavy metal players than anything else. The lows are extremely tight, the highs have a strong bite and the mids are very strong. Split coil sounds are pretty good with this, so I recommend trying those out if you have a push/pull pot or some other way of splitting it. A lot of people compare this so an EMG 81, and I can see the similarities, but I think the Evolution Bridge is a bit more organic sounding and actually a touch less compressed.

Steve Vai and DiMarzio tend to recommend this for guitars with alder bodies, and this is where a lot of people get their negativity towards this pickup. Because it’s a bright pickup, putting it in a neutral to bright tone wood will just overhype the frequencies and create a harsh situation. I recommend trying this in basswood or mahogany. Those woods tend to be the best suited for this pickup.

The Evolution bridge pickup by DiMarzio is a the outcome of the Steve Vai's very high demands as a player who knows exactly what he wants in a piece of gear. DiMarzio built the Evo to his specs and the result is a searing and sharp sounding humbucker with lots of output and harmonic content.

The pup is very tight in the low end, and not much low end is actually produced. It's not thin however, as riffs stay chunky with just enough girth. The high end is very present and almost shrill, but never quite becomes unpleasant. This pickup was made mainly for soloing when the guitarist must cut through the mix and be heard. I find that I like the pickup for tight rhythm playing just as much as shredding however.
The pickup has lots of harmonic overtones and a very lively sound. It will NOT hide sloppy playing, so be prepared to bring the chops with this one!

I think of this pickup as being an "acquired taste" and I don't think it works well with all gear. For example, it's too bright and thin to be played into a Marshall and V30's. A JCM 800 and Marshall cab with 75s was also a bit piercing and over the top in the upper mids, but better than the Marshall/V30 combo. However, this pup was right at home with a Boogie Mark IV, and even more so in my Dual Rectifier. The Rectifier's big low end countered the pickup's tight and somewhat thin low end to produce amazing hard rock and metal rhythm sounds! With the pup installed in my Les Paul and playing through the Vintage channel on the recto, I was getting tones that made my EMGs sound lifeless and stale. Not to mention, the Evo can get pretty good clean tones which surprised me.

As a side note for Mesa Boogie users, and especially rectifier users; ceramic pickups seem to sound smoother for some reason with these amps. Usually alnico magnets produce a softer sound, but with the recto ceramics just hold together better and sound smoother.

Overall, I'd recommend this pickup if you have a dark sounding amp or a thick guitar such as a Les Paul, and want to be heard and challenged as a player!