I myself tend to prefer picks that are worn in. It's like a pick will form itself after my playing over time. I have one pick that is made from (artificial?) stone, it's very strong, and because it's that strong it gives me an uncomfortable sensation: it's that grinding feel, similar that you get when you practice vibrato over a single fret, you just KNOW when the fret is getting shaved to dust. And I get that same feeling with that pick, except I'm not sure if it's the pick or string that is getting shaved to dust. Needless to say that pick is not going to form itself after my playing, at least not smoothly. A contrarian example would be that Jimmy Rosenberg's Big Stubby that his father shows in one of those movies. Half of the pick is gone and the pick has clearly been played with all of it's sides, something that the Big Stubby was definitely not designed for.
After years of using various picks, I can't settle on one permanent favorite pick. Depends on humidity, action, strings, guitar, room, moon, stars. I went from Wegen GJ 3.5, to Big City 1.8, to various PEEK and galalith picks from Eric Lopez, to CVH 2.0, to Blue Chip TAD and TP 2.0, to Red Bear 4.0(?) to Killy Nonis, to galalith 5.0 that I beveled myself. Right now, Killy Nonis gives me best combination of sound and control, along with Wegen GJ 3.5. I bought a sheet of 5.0mm galalith and will be cutting out and beveling my own picks. Maybe my favorite pick will turn out to be mine!
I may even eat my words about the Big City. Spent today two hours playing with it, an hour of solo and another rhythm. Interesting that it made the solos sound brighter but the chords sound darker.
That's something I've noticed too. Balancing lead lines with rhythm playing is something I've struggled with when using a number of picks over the years.
Comments
ok -- I'll try some of that! Especially on Jokko's picks. Thanks @Jangle_Jamie
I myself tend to prefer picks that are worn in. It's like a pick will form itself after my playing over time. I have one pick that is made from (artificial?) stone, it's very strong, and because it's that strong it gives me an uncomfortable sensation: it's that grinding feel, similar that you get when you practice vibrato over a single fret, you just KNOW when the fret is getting shaved to dust. And I get that same feeling with that pick, except I'm not sure if it's the pick or string that is getting shaved to dust. Needless to say that pick is not going to form itself after my playing, at least not smoothly. A contrarian example would be that Jimmy Rosenberg's Big Stubby that his father shows in one of those movies. Half of the pick is gone and the pick has clearly been played with all of it's sides, something that the Big Stubby was definitely not designed for.
After years of using various picks, I can't settle on one permanent favorite pick. Depends on humidity, action, strings, guitar, room, moon, stars. I went from Wegen GJ 3.5, to Big City 1.8, to various PEEK and galalith picks from Eric Lopez, to CVH 2.0, to Blue Chip TAD and TP 2.0, to Red Bear 4.0(?) to Killy Nonis, to galalith 5.0 that I beveled myself. Right now, Killy Nonis gives me best combination of sound and control, along with Wegen GJ 3.5. I bought a sheet of 5.0mm galalith and will be cutting out and beveling my own picks. Maybe my favorite pick will turn out to be mine!
I may even eat my words about the Big City. Spent today two hours playing with it, an hour of solo and another rhythm. Interesting that it made the solos sound brighter but the chords sound darker.
That's something I've noticed too. Balancing lead lines with rhythm playing is something I've struggled with when using a number of picks over the years.
Btw, Stochelo was not using a Big City in this documentary: rosenberg trio 3 delige docu