Adamas 2mm graphite picks for sale

[Heady Jam Fan]

That's what she said.

[Happyorange27]

I think that makes sense - its rigid so your movements are directly transferred into string motion, rather than a pick bending or forgiving. As I've seen it written, you wouldn't want to write with a floppy pencil.

Heady that was my original analogy from the infamous gear page thread on Trey where you and I participated much!

[cactuskeeb]

I think that makes sense - its rigid so your movements are directly transferred into string motion, rather than a pick bending or forgiving. As I've seen it written, you wouldn't want to write with a floppy pencil.

Exactly, a strong pencil is important.

^Hilarious

But in all seriousness, Trey holds his pick in a profoundly different way than we, for the most part, are taught. In fact, the fascists of the pick-holding realm -- jazz guitarists -- claim that the best way to hold "it" is to pinch it between thumb and the tip of your index finger. Trey deviates from this method by griping the pick between his thumb and the *side* of his index finger. You'll notice in videos that his thumb never moves and that most of the variation in pick attack comes from the upper arm or wrist. This contrarian method of Trey's is almost akin to Hendrix's habit of placing the thumb of his fretting hand over the side of the fretboard, rather than behind it for stability. In other words, it's wrong, technically speaking, but it works nonetheless.

[Happyorange27]

A strong pencil is important.
A weak pencil is impotent.

[cactuskeeb]

A strong pencil is important.
A weak pencil is impotent.

Yeah, absolutely rigid is a necessity but for a frame of reference regarding my post above see one of the better quality filmed versions of 2-16-97. Theme From the Bottom and the Johnny B. Goode encore have some great close-ups. I realize the theme of this thread is pick composition and density but as long as it's hard-as-fuck you'll nail some of Trey's sounds and perhaps create some of your own simply by holding it in the strange manner -- between thumb and side of index finger -- I mentioned above.

[Heady Jam Fan]

I think that makes sense - its rigid so your movements are directly transferred into string motion, rather than a pick bending or forgiving. As I've seen it written, you wouldn't want to write with a floppy pencil.

Heady that was my original analogy from the infamous gear page thread on Trey where you and I participated much!

Lol, nice analogy! I check on that thread every once and a while, unfortunate it has been simmering out. Every time I look for something I vaguely remember reading in that thread and want to see again, I realize I have 'met' more and more of those phish heads on the webs.

[Heady Jam Fan]

I think that makes sense - its rigid so your movements are directly transferred into string motion, rather than a pick bending or forgiving. As I've seen it written, you wouldn't want to write with a floppy pencil.

Exactly, a strong pencil is important.

^Hilarious

But in all seriousness, Trey holds his pick in a profoundly different way than we, for the most part, are taught. In fact, the fascists of the pick-holding realm -- jazz guitarists -- claim that the best way to hold "it" is to pinch it between thumb and the tip of your index finger. Trey deviates from this method by griping the pick between his thumb and the *side* of his index finger. You'll notice in videos that his thumb never moves and that most of the variation in pick attack comes from the upper arm or wrist. This contrarian method of Trey's is almost akin to Hendrix's habit of placing the thumb of his fretting hand over the side of the fretboard, rather than behind it for stability. In other words, it's wrong, technically speaking, but it works nonetheless.

I always learned to hold my pick that way... I can't remember where I learned it first, a Jazz-head or a metal-head (one of my two guitar teachers from my early teens), kinda feel like they both suggested decent form (which I didn't pay enough attention to until recalling it down the road). I always learned to kinda balance the pick so the point is perpendicular to the tip of your index finger (the angle is kinda tricky, you might need to adjust it with your other hand after you set your thumb down), then pretty much just rest your thumb on it naturally as your allow your hand to make a light fist (sorry, that was not eloquent, its getting late and I want to sleep before work tomorrow!). Obviously I don't think about those steps anymore, but that is the best I can describe it. I still find my other fingers straying - sometimes serving a purpose for hybrid picking, other times in bad form, resting on a string, the bridge or the body for support - I think that is the most common type of poor form in guitar players picking hand is bracing somewhere on the guitar (which IIRC was also one of Hendrix's habits, though you can see it in most pro's live videos honestly).

I would wonder if any videos show how some more technical, jazz oriented guitarists hold their pick. Someone like Metheny (who Trey loves) or Scofield.

[IamWILSON]

I still find my other fingers straying - sometimes serving a purpose for hybrid picking, other times in bad form, resting on a string, the bridge or the body for support - I think that is the most common type of poor form in guitar players picking hand is bracing somewhere on the guitar (which IIRC was also one of Hendrix's habits, though you can see it in most pro's live videos honestly).

I wouldn't say it's poor form unless it's inhibiting the way you play.  The goal is to have both hands as relaxed as possible.  As far as right hand techniques goes, I always tell my students to do what feels natural to them.  After all, we are all unique individuals and what may work for some will not work for others.  I've seen some crazy jazz guitarists hold a pick in a way that makes no physiological sense, but if it works for them, who am I to question their approach?  As far as resting a fingers on string(s), body, or bridge, sometimes that may be necessary.  I find it much easier when I have to pick really fast to rest my pinky on the guitar's body just below the high E sting to create a foundation that kind of helps me prevent my entire hand from moving too much so it's not out of control.  And I make sure the pinky is still relaxed and not stressed when doing this. 

My thoughts on the Adamas picks:  They are great and well worth the money.  I believe they were about $16 per 12-pack with about $3 shipping the last time I ordered from Dunlop.  I still haven't even gotten through the first pack because I have kept track of them very well.  I use one pick all the time and it wears away so evenly that it's still very usable over a year later!  I have 3 or 4 of the same ones that go in my pocket when I gig so I always have a fresh-ish pick then.  As for the tone, I think they just add a little extra chime or brightness to your attack that I've never heard from another pick.  And they are very dynamically responsive to your picking.  At the same time, I don't like them for acoustic guitar either though, but that's mostly because I don't get a good acoustic tone with a heavy pick. 

[Heady Jam Fan]

I still find my other fingers straying - sometimes serving a purpose for hybrid picking, other times in bad form, resting on a string, the bridge or the body for support - I think that is the most common type of poor form in guitar players picking hand is bracing somewhere on the guitar (which IIRC was also one of Hendrix's habits, though you can see it in most pro's live videos honestly).

I wouldn't say it's poor form unless it's inhibiting the way you play.  The goal is to have both hands as relaxed as possible.  As far as right hand techniques goes, I always tell my students to do what feels natural to them.  After all, we are all unique individuals and what may work for some will not work for others.  I've seen some crazy jazz guitarists hold a pick in a way that makes no physiological sense, but if it works for them, who am I to question their approach?  As far as resting a fingers on string(s), body, or bridge, sometimes that may be necessary.  I find it much easier when I have to pick really fast to rest my pinky on the guitar's body just below the high E sting to create a foundation that kind of helps me prevent my entire hand from moving too much so it's not out of control.  And I make sure the pinky is still relaxed and not stressed when doing this.   

I can see what you mean and you could certainly be correct, I do that often too, but I guess I would just say that I think bracing (like resting your pinky on the guitar) might help at some point, but might become a bad habit in the future. I mean, it might help to be able to learn certain things like fast, precise picking or more quickly, but might draw away from growing in other areas down the line. For example, I feel like even if my pinky were relaxed while doing this, it still slightly increases tension in my wrist or deter a natural picking motion since the finger is braced, it changes the hands movement. But I don't know, I think I remember my jazz teacher trying to break that habit, but it was a long time ago.