 This
is the shape of the pick I use.
A
pick is an important piece of equipment. It's selection is crucial.
| 1. |
How
much drag does the material cause? |
| 2. |
Are you able
to hold the pick in the same place each time? |
| 3. |
Do you drop
the pick while playing? Is it visable so you can find it
in a dark bar? Do you have spares? |
| 4. |
The shape of
the pick effects speed and the ability to play on
one string quickly or jump over strings accurately. Usually a compromise
has to be made. |
| 5. |
The material,
shape and thickness creates part of your tone. |
| 6. |
The angle which
you strike the string can effect all of .the above.
|
Every time you change
your pick, your technique has to make an adaptation. Assuming that
your posture and technique are perfect, you are then ready
to chose a pick. Once you get the right pick, seldom
change it. I bought a lifetime supply of the perfect pick for me,
which was fitted to me by one of my teachers, and have
used it for 39 years. Master violinists will use the same bow most
of their career. You must also have consistency in string choice. Every time you change your string brand or type, it affects
how the pick works.
I prefer a pick design which incorporates a hole or ridge which enables the me to hold the pick in the same place each time, reducing slippage and dropping.
The flexibility of the pick used is determined by string gauge
and height as well as the angle at which you are striking the
string. Generally, if the strings are heavy the pick should be light. If the
strings are light the pick should be heavy. However, this isn't the only factor.
|
The shape of a pick can help or hinder you depending on what angle
you are hitting the strings. The pick shape and right hand position
should allow you to change the strike angle. To get a fat tone
(sacrificing speed) the pick should be parallel to
the string, putting maximum material on the string. To get speed
(sacrificing tone) the pick should be at a 45 or less
degree angle. The material from which the pick is made effects
the
sound, slippage on the string, and feel on the skin.
When
selecting a pick, rate it according to: shape, sound, feel, slippage
on string, and overall ability to play what you want to play. If after using the pick for a suitable assessment period, it's not right, try again. Once you get the  right pick,
use just that one. Also, if you have been playing for a long
time, you may suddenly begin to have some technical problems.
After years of practice, one's techique may change and
a new pick choice must
be made.
__________________________________________
SUPPORT:
The first thing people ask me at
seminars is what kind of pick I use:
- Surf picks. Ra Denney custom designs these for me out of Lignum Vitae. Visit
him at www.surfpick.com. I also had him design a bridge saddle for me out of this same material which
makes my classical guitar sound wonderful.
- Moshay picks. If you use these, make sure you get one that has the hole exactly
in center. They are inconsistently manufactured, but if you get a good one,
you will enjoy it.
Contact: www.jhalemusic.com
Lincoln Music in Milwaukee, Wisconsin
Schmitt Music in Racine, Wisconsin
- Tone Tek picks are a big innovation. You can make synthesizer-like sounds with this pick and distortion. See videos of inventor / guitarist David Kleczka at www.tonetek.biz/
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