Seymour Duncan AHB-2 Blackouts Metal

I have this microphone for almost 6 months.
I first installed these pickups (yes, I put one in the bridge and even handle) and I have both been filled and equally disappointed. Let me explain:
These microphones are equipped with jumpers (sort of plug making contact with the two pins dedicated) that can constrain or release rate saturation.
My setup at the time was:
- Gibson Les Paul Studio black ebony stained (Ahb-2 bridge unbridled flanged sleeve)
- Fender superfield xd
- Pedals such as Boss mt-2 amended (the original I do not suporporte), zoom tri metal (analog, great for rhythm, including palm mute), black star ht-dist, whammy, mxr 78, mxr Fullbore metal ..).

I play mainly black label society, pantera, Metallica and also blues and some classic rock when the mood take me. Anyway, I love the big distos, but "clean" sharp and warm. Quite the opposite of what a fuzz!
With this configuration, the distortion is violent, very violent, even in free version too. Artificial harmonics fuse, and monstrous distortions are easily affordable. on the other hand in the neck position, the result is not exceptional, this mic is really dedicated to a bridge position.

Anyway, I had removed because they do not fit me.

Then I bought a TubeMeister 18, and I decided to give a 2-ahb bridge, but not at full power.
I replaced the neck pickup with a emg 85 and there .. The top!
I'm thrilled, this mixture is very versatile ..
Because what I did not say is that the chosen field of Ahb-2 is the distortion, the clean is to forget as well as crunches, disgusting ..
To summarize, if full of micro mediums and Palm mute sharp because you are interested in a much warmer emg 81 go for it, but for the bridge position only. It does not sound cold because it has a micro active passive nature of its composition alnico.
Her performances are up to my expectations, but restrained, for free dose gain is such that it becomes messy in my opinion, to grind core in a pinch!
Couples to the neck pickup and versatile balance between distortion and clean will be respected.

I use this mic for over a month on a Jackson Dinky DX6 (violin average)

The output level of the microphone is trs lev too clean to use it (on my pramp engl 570, I can not have his compltement clean). However, if the amp is a fair bit in terms of gain, this microphone is for you.

For use in mtal, I highly recommend EMG8 but not bad either. It looks cleaner than the blackout metal. Slipknot to play this mic is for you, drop C or B is really impressive (as weird guitar Mick Thomson 7 - Ibanez MTM1 is fitted to the microphone). The sound is rich trs, tortuous ...

Also, the breath is almost ing, even on my pramp lamp ...

I pay just over 100 on thomann

I think for my style of play (more hardcore hxc) I privilgierai the EMG81, for a more cutting edge.

I use the microwave for 3-4 months, it replaces a TB6 that I thought it lacked a bit of resentment.

The result is, the blackouts metal bears his name, one feels immediately gain and the grain of this microphone, it is violent, very violent ... So it does not actually go anywhere.

When I use it, or I do not put the guitar volume back, or I lower the preamp gain entry, it sends so much.

The harmonics come out with an easy mind-blowing ...
The breath that may be present would come from the amp, because the output level of the microphone when it is thoroughly

I paid on 110th thomann, everything is provided knobs, condo, wire for the switch, jack, spring, screw ...
Small regret shame Seymour did not provide his knob push-pull switch for the original on-board
Conclusion: A microphone that sends the big sound of the heavy, just the heavy
I would put 9 / 10 because of a push-pull knob not included with

I play modern metal given below, I played for years on EMG81 so I compare with them I know by heart.
First, the Blackout send more gain is undeniable and I've tested so far that without the jumper, he sent with more gain, I will publish this review after I take the test . First thing I do is to fall for there have less gain, as my boost and gain of the amplifier was set to 81, if you drop it too loses its charm if we mount it too Larsen everywhere, so I found a good compromise and despite that I still fell a little input from my multi (GT-Pro) and there was pretty cool.
It is less sharp than the EMG, but also less synthetic or less "harsh" but hey I mounted the Presence of my slightly ENGL Savage120 and it did so. Then the microphone sends more serious, not huge maisun little more anyway, unless it is dug into the meds and even a nice bump in the high mids that gives it a really nice modern side.
What I liked most is the balance of this micro compared to 81, and palm mute chords are the same level, there or EMG boost the PM but was light wholesale agreement (in my taste) even in saturated arpeggio is more musical, I liked.
I have not had the opportunity to try the plain, I feasted too saturated ^ ^ so no opinion yet.
So good alternative at 81, I will test out the other Blackout at the moment but I feel the need.

nb: Thanks to the "Quick Connect" no need to unsolder anything if you switch from an EMG to those, we unplug it reconnects the plug three son and that's all, well done.