Mandolin Picks!

 

Mandolin Picks: Sometimes the Smallest Things Make the Biggest Difference

 

Thickness, shape, material, and finding the pick that feels right in your hands.

We've talked about choosing a mandolin and how different strings can change its sound. Now let's discuss something considerably smaller, considerably less expensive, and every bit as important to the way your instrument responds.

The humble mandolin pick.

I've spent more than 45 years playing stringed instruments, and during that time I've accumulated enough picks to fill a small museum. Thin ones, thick ones, pointed ones, rounded ones, plastic, nylon, tortoiseshell substitutes, and all sorts of experimental materials.

Some I've loved. Others have disappeared into the bottom of a drawer, never to be seen again.

And here's something I've learned: a pick isn't simply a device for striking a string. It's an extension of your hand, and it plays an important role in shaping your sound.

Why Does the Pick Matter So Much?

A mandolin has eight strings arranged in four pairs, or courses. Unlike a guitar, where you might use your fingers to produce individual notes, most traditional mandolin playing relies heavily on the pick.

Every note you play involves a physical interaction between the pick and the strings.

The thickness, shape, material, flexibility, and angle of that pick influence how the string responds.

A thin, flexible pick may produce a lighter attack, but it can also make precise single-note playing and rapid tremolo more difficult. A thicker pick often provides a more substantial feel and greater control, particularly when playing melodies.

But thickness alone doesn't determine tone. The shape of the tip, the way you hold the pick, and the angle at which it meets the strings are equally important.

Sometimes a very small adjustment makes a remarkable difference.

Thin, Medium, or Heavy?

Let's start with thickness.

Thin Picks

Thin picks flex considerably as they pass across the strings.

They can be useful for certain kinds of light strumming, particularly on guitar, but I generally don't recommend very thin picks as a starting point for traditional mandolin playing.

That flexibility can make it harder to develop a consistent attack, especially when moving quickly between courses or working on tremolo.

Medium Picks

Medium picks offer a compromise between flexibility and firmness.

Some players enjoy them for rhythm work or a lighter playing style. They can also be a comfortable transition for guitarists who are beginning to explore mandolin.

Heavy and Extra-Heavy Picks

This is where things become especially interesting.

Many experienced mandolin players prefer picks that are considerably thicker than those commonly used for acoustic guitar.

A thick pick doesn't necessarily produce a harsh or aggressive sound. In fact, when combined with a rounded tip and a relaxed picking technique, it can produce a remarkably warm, full tone.

The pick doesn't have to bend very much. Instead, your hand controls how it moves through the strings.

For students who have been struggling with tremolo or inconsistent tone, experimenting with a thicker pick can sometimes be a revelation.

Shape Matters, Too

Take a look at a handful of mandolin picks, and you'll notice that they aren't all shaped alike.

Some have relatively sharp points. Others have broad, rounded tips. Some are triangular, allowing you to rotate the pick and use any of its three corners.

A pointed pick may offer a more defined attack, while a rounded tip can encourage a smoother sound and feel.

Neither is inherently better.

For traditional mandolin playing, I particularly encourage students to experiment with rounded picks. They can be wonderfully comfortable for tremolo and melodic playing.

But don't take my word for it. Try several shapes on the same instrument and listen carefully.

You may discover that the pick you initially thought looked rather strange produces exactly the sound you've been looking for.

What About Pick Materials?

Most modern picks are made from synthetic materials, but there's considerable variety within that category.

Celluloid: A traditional pick material with a familiar feel and a wide range of available shapes and thicknesses.

Nylon: Often associated with a slightly softer feel and varying degrees of flexibility.

Delrin and similar engineered plastics: Durable materials that offer a relatively consistent surface and response.

Specialty synthetic materials: Used in many premium picks, sometimes designed to reproduce particular tonal and tactile characteristics associated with older pick materials.

You'll also encounter picks made from wood, metal, stone, and other materials.

They're worth experimenting with, although unusual materials don't automatically produce better musical results.

The important questions remain the same: How does the pick feel? How does it sound? Can you control it comfortably?

And does it make you want to keep playing?

Let's Talk About Tremolo

One of the mandolin's most recognizable techniques is tremolo, the rapid alternation of downstrokes and upstrokes that allows us to sustain the impression of a long, singing note.

Because the mandolin's natural sustain is relatively short, tremolo plays an important expressive role in many styles.

A suitable pick can make developing this technique considerably easier.

But the secret isn't simply finding the thickest or most expensive pick available.

It's learning to maintain a relaxed hand, use an economical picking motion, and allow the pick to move smoothly across the strings.

If you're gripping the pick as though someone is about to steal it, you're probably making things harder than necessary!

Try holding it firmly enough that it remains secure, but loosely enough that your wrist and fingers aren't unnecessarily tense.

Experiment with different pick angles and listen to how the sound changes.

A good tremolo should sound musical, not like a small motor struggling to start.

Bluegrass, Celtic, and Different Musical Traditions

Different styles of music place different demands on your picking technique.

In bluegrass, you may move between powerful rhythm playing, precise single-note passages, crosspicking, and improvisation.

In traditional Irish music, you may be concentrating on the rhythmic character of jigs and reels, ornamentation, and the phrasing of individual melodies.

A slow air may invite an entirely different touch from an energetic bluegrass breakdown.

That doesn't mean you need a separate pick for every style.

Many musicians find one particular pick that works comfortably across their repertoire. Others keep several favorites available for different situations.

There's nothing wrong with either approach.

The important thing is to develop enough control that the pick serves your musical intentions rather than dictating them.

The Most Expensive Pick Isn't Necessarily the Best

Specialty mandolin picks can be surprisingly expensive.

Some are beautifully manufactured, carefully beveled, and designed to produce particular tonal characteristics. Many are excellent.

But a high price doesn't guarantee that a pick will suit your hand, instrument, or playing style.

I've always encouraged students to experiment before becoming loyal to a particular product.

Try a few inexpensive picks in different thicknesses and shapes. Compare them with a heavier, more carefully finished specialty pick.

Listen for differences in attack, warmth, clarity, and responsiveness.

You may discover that a relatively inexpensive pick is your favorite.

Or you may find that a premium pick offers exactly the feel and control you've been missing.

Either result is perfectly fine.

A Simple Experiment for Your Next Practice Session

Here's something you can try at home.

Find three picks with noticeably different thicknesses or shapes.

Choose a familiar tune, preferably something you can play comfortably without concentrating too much on the notes.

Play the tune with each pick, paying attention to:

• How comfortably the pick sits between your fingers.

• How easily it moves across paired strings.

• Whether the tone is bright, warm, sharp, or mellow.

• How much control you have over dynamics.

• Whether your hand remains relaxed.

• How the pick responds during tremolo and faster passages.

If possible, record yourself using each pick and listen afterward.

You might be surprised by what you hear.

And remember, what feels best isn't always what sounds best. Ideally, you're looking for a combination of both.

Don't Forget the Human Part

It's tempting to believe that the next accessory will solve every technical difficulty we encounter.

A new pick might improve your tone or make certain techniques more comfortable, but it won't replace thoughtful practice.

Your grip, wrist movement, pick angle, timing, and overall physical relaxation all contribute to the sound you produce.

Two musicians can use the same mandolin, identical strings, and the same pick and still sound completely different.

That's one of the wonderful things about playing a musical instrument.

The equipment matters, but the musician matters more.

Find the Pick That Makes You Forget About the Pick

Ultimately, that's what I'm looking for.

A pick that feels so natural in my hand that I stop thinking about it.

One that allows me to play softly when I want to, dig into a lively tune when the music calls for it, and move comfortably between rhythm and melody.

It doesn't have to be fashionable. It doesn't have to carry a prestigious name. And it certainly doesn't have to cost a fortune.

It simply has to work.

So the next time you're in a music shop, spend a few minutes exploring the pick selection. Buy several different shapes and thicknesses, take them home, and experiment.

You may discover that one of the least expensive accessories in your instrument case makes one of the biggest differences in your playing.

And once you've found a favorite?

Buy a few extras.

Because no matter how carefully you look after them, mandolin picks have an extraordinary ability to disappear!

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Learn Mandolin at Sweet Music Studio

I offer private online mandolin instruction for beginning, intermediate, and experienced players. Lessons include technique, tone production, flatpicking, tremolo, repertoire, improvisation, and traditional music.

Students enrolled in our 60-minute private lesson program also receive complimentary access to four weekly virtual group classes.

To inquire about lessons, visit our Contact page or email sweetmusicstud@gmail.com.

Adam Sweet
Sweet Music Studio
Granby, Massachusetts