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Elements of Tone 2: Picks
Introduction
This is the second article in the Elements of Tone series following on from the first article: Elements of Tone 1: Strings.
In this article, I'll discuss the difference that picks can make to your guitar tone.
How you pluck the strings makes a massive difference to how the guitar will sound. In fact, I find this to big one of the biggest variables in sound quality if not the biggest. Jeff Beck doesn't sound like Albert Collins who doesn't sound like Steve Morse who doesn't sound like Jimi Hendrix. 4 massively different guitar tones with 4 very different playing styles. They also have different amps, etc as well but all have been recorded playing on a standard stratocaster or telecaster through a simple valve amp and even then they sound different.
Albert Collins was famous for playing his telecaster with his fingers. He was able to introduce a very harsh, fast attack that bit into the mix. Steve Morse uses a pick with a strictly alternate picking pattern and the attack is usually softened in lead licks by using the neck pickup.
There are a few main variables when considering picks:
Thickness or Diameter
I prefer thick. I like the precision offered by a pick that doesn't flex. Thicker produces a longer sustaining note and I prefer the tone. You can hear the difference between thick and thin picks, however I've never been too sure if it's all down to the thickness. In some cases, it's been because the pick has flexed as it hit the string especially with thin picks don't have the inherent resistance. In other cases, it's about the surface of the pick that scratches against the strings. The thicker the pick, the more surface that there is to scratch the string.
Material
Picks are typically made from nylon or a form of plastic. I've found that rubber picks are useful for acoustics when I don't want any pick noise at all. Metal picks, ranging from stainless steel through copper to bronze produce a very hard attack with a lot of pick noise. Great for steel-string acoustics but I've never liked them for electrics. That's my choice anyway. It would be wrong to write an article on metal picks and not mention using coins, the standard cliche is Brian May. It worked well for him.
Recently I've been playing with v-picks. So far the v-pick medium has replaced my standard Jim Dunlop Jazz III. Since I received them, I've played with no other picks. That's some feat.
Size
Ignoring thickness, there's the width and length of the pick. Compare the two common sizes of Jim Dunlop Tortex picks and Jim Dunlop Jazz IIs. The majority of picks on the market are close to one of those two sizes. There are a few exceptions, especially for larger picks. Some people say that small is more accurate, others prefer larger for the extra space for gripping. The larger the pick, the more potential for applying different technology (e.g indentations, additional materials, etc).
Edge
Simply it's a choice of round or sharp. Sharp for more attack and pick noise, round for a softer picking action. If your picks have two picking edges, a good choice is to keep one sharp and the other round. When the sharp one gets round as it erodes with use over time, then it'll be time for a new pick.
Texture
The texture makes a difference in two ways: (1) how easy the plectrum is to grip and hold and (2) the noise and grip of the plectrum as it strikes against the strings. Some picks have tiny indentations for your fingers to hold onto, others such as some Delrins include a thumbprint-sized indentation.
Shape
I've only ever seen triangular with or without rounded corners. Just because a pick has one corner more pointy than the others, don't be restricted to just playing that using that corner; turning the pick around to play on one of the flatter sides allows for softer strumming potential.
Colour
The choice is yours. Doesn't make any difference to tone.
Fingers
And don't forget the fingers. Jeff Beck and Albert Collins (from the introduction above) both play mainly plucking with fingers if not exclusively with fingers rather than picks. Albert Collins plucked really hard and you can hear that attack as the strings on the telecaster rebound against the neck or pickups. It's part of what made his signature tone.










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