I went from an 85/SA set to a DiMarzio Evolution and a Tone Zone. The harmonics, note definition, and dynamics were pretty dramatically increased. Going from all-out gain to semi-clean with the volume knob doesn't just sound like all-out gain but quieter. Fast single note stuff is real tight and the higher notes almost seem to sing. One of the things I loved about the EMG's was how they didn't hardly get feedback at all but at the same time, when I held out a note it just got quieter until the sustain ran out and then turned into super feedback. With the DiMarzios I have now the note morphs from the note to a harmonic feedback that has a very cool and complex tone to it. It could be actually pass as sustain to an uneducated audience I think. Another thing I noticed right away with the Evolution was that I got artificial harmonics a lot when I wasn't even trying to.
I recently borrowed a early 80's Warlock with an 85/89 set in it and having that an my guitar to A/B I can also tell you that coil tapping on the EMG's isn't near as good. I had to toy with it and play certain type of riffs just to try and figure out if the coil tap switch was working. With the DiMarzios, it was extremely obvious and the single coil tone was way more 'strat' like than the EMG 89 coil-tapped or the EMG S/SA pickups I have. Something else I found was that with the DiMarzios, pickup height makes a huge difference! I always had my EMG's as close to the strings as they could get without hitting. When you drop them down a little you lose a little output and maybe some lows or highs depending on which end you lower/raise. With the Evolution, when I first installed it it was very bassy. I was actually afraid my reluctance to switch had been justified. Then I remembered the reason why pickups have those adjustable screws. I lowered the low E side and the bass got tighter and tighter. Now it's right where I like it and it only takes like 2 turns of that screw to make a pretty notable difference.
I still think for high-gain metal EMG's are the best to use live. Maybe the blackouts are in the same class, I've not tried them though. In the studio though, I wouldn't use EMG's. I think it's just the nature of the EMG design that they're more consistently high output and somewhat compressed. If you think about it almost none of the 'best guitar players' use EMG's. I think there's a reason for that. If there is a downside to passive pickups it would be lower output which you can counter with a Boost and feedback which you can control if you just know what the heck you're doing.
FWIW - My unusual combo of the 85 and SA was picked over years of experimenting with an 85, 81, S and SA in every combination in several guitars. My first guitar, a Hondo Explorer to early 90s RG 550, early 90s Jackson Kelly Pro, early 90s Fender Heartfield Talon 3, late 80s Charvel 275, ESP MII Custom, mid 80's Gibson Explorer and a few others I can't recall.
As I've said before, IMO the 85 seems to do better in mahogany/LP guitars and the 81 seems to fit Basswood/RG type guitars better. A formula I've also tested several times over.
My .02
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