RSS

Tag Archives: dunlop

Pick choices

After playing acoustic and electric guitar for 30+ years, I have come to two major conclusions about picks. Number one is that it is basically pointless to try to state that one particular pick shape or gauge will be more or less suitable for a certain style or genre. Every time I try to offer up a blanket statement about stiffer picks and speed playing, I come across a shredder who plays with medium or even light picks. The first conclusion leads into the second, which is that you should always be on the lookout. Picks are just about the cheapest pieces of equipment, so you can’t afford not to buy every variety there is, and try them out.¬†You never know what is going to be the secret sauce for you.

I played for 23 years before I found the perfect pick for my style, which turned out to be the Dunlop Jazztone 204. On one hand, I was amazed that the simple act of switching picks enabled me to get faster and more accurate overnight. In the spring of 2008, I was convinced that the plateau I found myself on stretched all the way to the horizon. On the other, I’m kind of peeved that it had to be that pick. Sometimes I’m jealous of bass players, or guitar players like Mark Knopfler and Jeff Beck, who express themselves using fingers only, without having to worry about dropping those small but essential pieces of plastic. But I find it more annoying that I can’t just use any old pick. It has to be a very specific and fairly hard-to-find model!

The most obvious thing with the Jazztone 204 is that it is rigid. I have one next to me as I’m typing this, and when I use my thumb as a fulcrum and pull for king and country, I can get it to flex a few tenths of a millimeter. This is no news as far as I’m concerned: when I first got into hard rock and metal guitar, I noticed that I could achieve more speed and more consistency with a stiffer pick. I find that for my playing, more thickness means that I am control over the string release. Over the space of just a few months, I went from faux tortoise shell Fender medium picks (0.7 mm?) to Dunlop Delrin 500 1.14 mm (the cerise one). The next point I want to make about the Jazztone 204 is the cross-section. When I first discovered Dunlop Delrin picks, I noticed that they had beveled edges, and that proved to be vital as well, since the bevel means that the string slides more easily off the pick. (That, incidentally, is why I’m not wild about Dunlop’s 1.5 mm picks. The gauge is just about perfect, but the bevel is assymmetrical: shallower on the back than at the front.) The 204 is even smoother, it is a less pronounced ridge where the pick starts getting thinner towards the edges. Thus far, there is no major difference between a 204 and the Delrin/Gator Grip 2.0 mm. Moving on to the penultimate but perhaps the most important feature: the shape of the tip. The 204 is about as blunt as one of the opposite corners of a more traditional pick, and that appears to be the secret sauce for my playing. The first thing that struck me when I got a 204 and dug into the strings was that someone took 80 per cent of the friction right out of the equation without taking away the tone. I know that some players like the positive feel of a sharper tip, but my playing has evolved so that I happen to prefer the exact opposite. I barely nudge the string, and that works wonders for my speed and stamina. Lastly, the 204 is a jazz-type pick, which means that it is fairly small. To be perfectly honest, I only tried it out because I was distracted by a conversation, had I been fully aware it is unlikely that I would have touched such a weird-looking pick. It almost doesn’t look like a guitar pick! But after a few weeks of intense practicing, I found it hard to go back to a regular pick, they felt like credit cards in comparison!

All of this goodness comes at a price. They aren’t more expensive than any other Dunlop picks, but they are indeed harder to find, and that’s why I tend to hoard them. Whenever the store has them, I buy a couple, and I have about 30 in an Altoids tin at home. No, the drawback is that they are pretty impractical. The classic way to store picks is to squeeze them against the strings against the first fret, and there is simply not enough surface area on the 204. This has become even harder after I started using the Teflon-coated Elixir strings. It is impossible to tuck a 204 underneath the pickguard of a Stratocaster or Telecaster, so I have to use one of those rubber profiles that you stick on a mike stand. And even that is a less than optimal fit. Still, I accept these drawbacks since no other pick gets me that tone and that feel. It’s not that I can’t play if I don’t have a 204 on me. I can use just about anything, a pick, a coin, a credit card, to get a decent sound out of a guitar. It’s just that my muscle memory has reset itself around the feel of a 204 across the strings, so whenever I alter something in that very delicate equation, I lose the top few per cent of my speed and accuracy. Sometimes, I deliberately use a different pick in order to slow down and work on other aspects of my playing. I might use one of the Hendrix picks my parents gave me, just for the mojo. But most importantly: just because I think I’ve found “my” pick doesn’t mean that I have stopped looking. I have to remind myself that I thought I had “it” for almost two decades with the Delrins.

 
Leave a comment

Posted by on 21 May, 2017 in Uncategorized, editorial, gear

 

Tags: , ,

Editorial: The Pedalboard

In other news: my Pedaltrain 2 has arrived, along with my new Dunlop DVP-1 volume pedal. So, the pieces of my pedalboard are lying around. All that remains is to put it all together into a configuration. Other than the Pedaltrain and the power supply, the components are, in no particular order:

  • Korg DT-10 tuner
  • TC Electronic Spark Booster
  • MXR Phase 90 (block logo)
  • Dunlop Crybaby wah (limited edition white painted)
  • Dunlop DVP-1 volume pedal
  • TC Electronic Shaker Vibrato
  • MXR Carbon Copy analog delay

The vibrato and delay will go into the effects loop of the amp, the other five before the input. Cable cornucopia! The tuner will likely be connected to the tuner out of the volume pedal, unless I prefer the sound of its buffered input. More than that, I haven’t really figured out exactly in which order to put the pedals. The one thing I know is that I want to keep the phaser before the amp input, because I’ve yet to hear a phaser that sounds good after distortion. (Edit 16 March: accidentally wrote BEFORE distortion. Oops!) The vibrato does sound pretty cool before distortion, but the delay sure as hell doesn’t. Keep the regeneration and mix above 9 o’clock and it immediately turns to mush.

One thing that strikes me is that this pedalboard is not that different from what Hendrix would have used. That is entirely intentional. Listen back to those albums from 1967 and onwards, how the great players experimented with tones. Other than the really saturated modern metal tone, all the basic rock tones were already discovered before 1972. Before flangers, before choruses. In those days, there were Leslies, wahs and phasers, which are effects that simply feel more organic to me. Believe me, I have an incredible itch for a proper fuzz and a Uni-Vibe!

 
Leave a comment

Posted by on 15 March, 2014 in editorial, gear

 

Tags: , , , , , , , ,