Interview Stadler Picks: “Don’t do to your pick what you wouldn’t Do to your hair or fingernails”

At the Guitar Summit in Mannheim, Germany, FretboardFrenzy.com met Christoph Stadler and immediately knew this passionate craftsman would be perfect for our interview series. Not only is Christoph a talented luthier who creates stunning guitars, he also crafts unique picks from water buffalo horn and beautiful pickboxes.

Christoph is charting a different course in a world dominated by mass-produced plastic picks. From his workshop in Berlin, Germany, he crafts his own high-quality, durable guitar picks with a unique sound.

As a luthier and guitarist himself, he knows exactly what his customers are looking for in a pick. In this interview, he tells you everything you need to know about his extraordinary products.

How did you first get interested in making guitar picks, and what inspired you to start Stadler Picks?

I’ve always been a pick player—when I was young, I could hardly play without one. After finishing my design studies in London in the mid-’90s, I decided to take a break and travelled through Central America. I ended up in a small beach town in Honduras, where I met someone with a beautiful acoustic guitar.

Having not touched a guitar in months, I was eager to play. But there was a problem—no one had a pick, and I found it really frustrating because I couldn’t fully enjoy playing without one.

One day, as I was walking along the beach, I stumbled upon a strange piece of material. At the time, I didn’t realize what it was, but I was fascinated by its beauty and the unique properties of the material. I started experimenting, breaking off pieces and since I had no access to tools just rubbing them on stones to shape them into picks.

To my surprise, these picks felt and sounded so much better than the common plastic ones I was used to. The slight domed shape of the material also gave them a wonderful ergonomic quality, making them easier to hold and play.

A couple of weeks later, I discovered that the material I’d been using was actually sea turtle shell from a highly endangered species. That realization really dampened my excitement—it was out of the question for me to continue using it.

But the experience stuck with me, and the amazing properties of that material lingered in my mind long after I returned from my trip.

After my trip to Central America, my life went in a different direction, and it wasn’t until a couple of years later that I started thinking about making picks again.

I’d been working in the virtual world for quite some time and felt the urge to create something tangible, something of lasting value in the real world. So I began making things with my hands again, and pretty quickly, the whole idea of making picks resurfaced.

Stadler Picks are made from water buffalo horn. What led you to choose this material, and how does it compare to more common pick materials in terms of sound and playability?

So because I didn’t want to pursue the use of turtle shell, but the material properties had made such an impact on me I started thinking: what is turtle shell made of? It’s keratin. And what else is made of keratin? Hair, fingernails, and… horn! That’s when the journey really began.

I made my first prototypes out of European cow horn. It turned out to be a terrible pick material—not suitable for making thin picks at all. But the tactile feeling and sound were remarkably close to turtle shell.

It took another 10 years of testing different horn types from around the globe before I finally found the absolute best horn materials and a reliable network of suppliers that I use today.

Personally, I believe that East Asian water buffalo horn and ram’s horn from the Himalayas are the perfect pick materials—both functionally and ethically, in terms of sustainability, environmental impact, and fair-trade practices.

One of the most amazing properties of the horn I use is that it doesn’t become slippery when wet. In fact, it becomes stickier with humidity. That’s a feature that players with sweaty hands especially appreciate, but it’s beneficial for all players because it means you don’t have to grip the pick tightly to keep it in place.

Also, as it turned out, horn (if it’s the right kind) is actually far superior to turtle shell for making plectrums while still having the tactile and tonal properties of it. Turtle shell is very brittle and doesn’t lend itself at all for making thin and/or flexible picks.

Horn on the other hand is very chewy and has a layered strands that makes it very strong, a bit like fibres in wood. Because of these long strings of fibres it has a wonderful organic flex which I exploit in my designs for the thinner and flexible picks.

In terms of sound the best way to describe it is organic. It’s essentially the same material as fingernails (just from a different animal) so it doesn’t have this stale artificial sound like plastics. This is of course especially noticeable on acoustics, but even on electrics it just sounds warmer and more natural. 

Your picks are designed on a computer and then hand-finished. Can you walk us through this process and explain how it contributes to the unique qualities of Stadler Picks?

When I first started making picks, they were entirely handmade. But I soon realized that creating thinner, flexible picks with consistent dimensions by hand was nearly impossible.

Personally, I don’t like very thick picks – anything over 2 mm feels weird to me. I enjoy a flexible pick for strumming and an almost stiff pick with just a bit of flex for soloing.

Over the last two decades I also talked with thousands of guitarists about picks and funnily enough it turns out I’m not alone with this preference and my personal preferences aligns with what most guitarists like.

Horn is pretty hard and somewhat chewy, so you have to make it extremely thin for it to bend. But if you make it that thin, the edges won’t hold up well to playing, so they need to be a bit thicker.

Remembering the ergonomic benefits of the dome-shaped turtle shell picks, I wanted to incorporate similar ‘grip ergonomics.’

But I had learned something else from the domed turtle shell: having a pick that warps into one direction gives you a different feel and sound on the up and the down stroke and that’s really counterproductive (although it can also be fun sometimes).

So with the first handmade picks I found out that if I can’t get both sides of the pick to be accurately symmetrical the horn would warp to one side when warming up in your hands.

So achieving all that precisely by hand was next to impossible, and repeatable consistency is crucial for any commercial product.

So, I turned to designing and modelling my picks on the computer which came naturally since I had been using 3D software professionally since it’s infancy in the beginning of the nineties.

This process now gives me precise control over very tiny dimensions, allowing me to adjust stiffness and flexibility in specific areas and meticulously shape the 3D form.

I’m also a fan of beautiful things, so since there’s so much work involved in making these picks, I figured I might as well make them as beautiful as possible. Over time, I developed the little ridge patterns you see on my picks – they help with grip but are mainly decorative.

These patterns are extremely fine, with layers less than a tenth of a millimetre thick. Designing them on the computer allows me to simulate and control these details precisely at the micro level which would be completely impossible to do by hand.

The rough blanks are cut on a CNC mill, but contrary to common belief, nothing comes out ‘finished’ from a CNC. Horn is an absurdly challenging material to cut on a CNC, so a lot of preparation needs to go into the horn plates and machining operations to be able to cut these tiny little pieces.

There’s a significant amount of hand-shaping and finishing required to achieve the final product. It took me years to figure out the right tools, workflow, and machining settings to get the consistent results I have today.

My flexible picks often have a thickness of less than half a millimetre at their thinnest point, so precision is absolutely crucial.

You mention that your picks are 3D rather than 2D. What do you mean by that, and how does this 3D design improve grip, control, and the playing experience?

Simply put, my picks aren’t flat – they have varying thicknesses throughout their shape. That’s btw why I measure my picks by weight in grams rather than thickness in millimetres.

The first thing you’ll notice when you hold one of my picks is that it almost automatically finds its optimal position in your fingers. The recessed areas in the middle are designed to help orient the tip toward the strings.

Another benefit of the 3D shape is that you don’t have to pinch your fingers too tightly to hold the pick in place. The raised edges and recessed grip area prevent it from moving even with a looser grip.

Combined with the sticky qualities of the horn material, this allows you to have a more relaxed grip, resulting in a more relaxed wrist. Ultimately, that gives you better control over attack and dynamics.

Can you explain the importance of pick thickness in your designs? How do you make them suitable for different player preferences, from beginners to professionals?

Pick thickness is a crucial factor that influences both the tone and feel of my guitar picks. Thinner picks tend to produce a brighter sound and offer more flexibility, which is great for strumming and rhythm playing.

Thicker picks provide greater control and produce a warmer, fuller tone, which many lead guitarists prefer for precision and speed.

In my designs, I focus on creating picks with varying thickness throughout their 3D shape. This allows me to tailor the pick’s flexibility and rigidity in specific areas, providing a balanced feel that’s suitable for a wide range of playing styles.

For instance, the grip area might be thin for a bit of flex and better comfort, while the edge and tip area is thicker for stability resulting in more control and tighter dynamics.

To accommodate different player preferences – from beginners who may benefit from a more forgiving pick to professionals seeking nuanced control – I offer a variety of models.

Each design considers the player’s tactile experience and the tonal qualities they might be seeking.

As a pick maker, you must have a unique perspective on tone. How much of a guitar’s tone do you believe comes from the pick, and how does this influence your design process?

I believe the pick plays a significant role in shaping a guitar’s tone—it’s the initial point of contact between you and the strings. The material, thickness, flexibility, shape, and even the edge contour of the pick can dramatically affect the feel and sound character.

And this applies both to acoustic and electric guitars. On acoustics however the tonal difference from plastics is more pronounced, and since horn is made of keratin, it’s the closest you can get to the sound of fingernails.

This understanding deeply influences my design process. By selecting materials like water buffalo horn, which has natural tonal properties superior to many synthetic materials, I can enhance the warmth and richness of the guitar’s sound.

The 3D design allows me to manipulate how the pick interacts with the strings, affecting attack, sustain, and overall dynamics.

My goal is to create picks that not only feel comfortable but also bring out the best tonal qualities of the instrument.

Also, in general when talking about ‘tone’ on a guitar, I think of it in a bit wider context. I’m a firm believer in the concept of ‘it’s all in the hands’.

So I think it’s not so much the actual sound the pick produces on the string that shapes the tone but more how it feels and how that feeling makes you play that makes a pick ‘sound’ different.

I would suggest that it actually makes you sound different more than having a sound of its own.

Sustainability seems important to your brand. How do you ensure that your use of water buffalo horn is ethical and environmentally friendly?

Sustainability is indeed a core value for me. When I think about sustainability, I consider the entire lifecycle of a product – from sourcing materials to production, distribution, use, and disposal – and aim for practices that are environmentally friendly and socially responsible throughout the products lifecycle.

Although I generally don’t speak about other brands’ picks, at this point I can’t help but talk about a dark truth nobody seems to address: all plastic guitar picks are made from materials that are neither recyclable nor biodegradable.

Besides relying heavily on fossil fuels, the production of plastics often harms ecosystems due to pollution and waste by-products.

In regions where environmental regulations are less stringent, such as in some manufacturing hubs, the environmental impact can be even more severe. Industrial processes may release harmful chemicals into the air, water, and soil, affecting wildlife and human health.

When you play with a plastic pick, the material gradually wears down, generating microplastics that can enter ecosystems and pose risks to aquatic life and other organisms.

Eventually, discarded or lost plastic picks end up in landfills, where they will persist for hundreds of years, contributing to long-term pollution.

In contrast, horn picks offer a natural and eco-friendly alternative. They’re made from horn – a material that would otherwise go to waste – as it’s a by-product of the agricultural industry.

The production of horn picks has a significantly lower environmental footprint.

When a horn pick reaches the end of its life, it is naturally biodegrades and returns to the earth without leaving harmful residues—ashes to ashes, so to speak.

The horn I use comes from some of the poorest regions in the world, where water buffalo are integral to daily life and traditional farming practices.

By purchasing the horn at fair prices – without haggling – I help ensure that the sellers receive a decent profit margin, supporting sustainable livelihoods in their communities. This approach not only reduces waste but also provides valuable income for these communities.

While I don’t have detailed insights into every aspect of the supply chain, I strive to work with suppliers who engage in fair trade practices and share a commitment to ethical sourcing.

My goal is to ensure that the materials used in my picks are obtained in a way that does not contribute to environmental degradation or unethical treatment of animals.

By choosing horn over plastic, I’m able to create a product that not only offers superior sound and feel but also aligns with my values of environmental stewardship and social responsibility.

It’s a small step toward reducing our environmental footprint and promoting a more sustainable future.

Many of your picks feature unique shapes like the Trinity series. What inspired these designs, and how do they benefit guitarists?

Great question! I actually have close to a hundred different pick models and prototypes. This wide variety reflects my passion for research and innovation, as well as my desire to accommodate the different ergonomics, aesthetics and playing styles of guitarists.

We all have unique finger sizes and shapes, hold the pick differently, use various types of strings, and play different genres of music. This naturally leads to an almost endless variety of possible designs and shapes.

The inspiration behind unique designs like the Trinity series comes from this understanding. For example, the Trinity pick incorporates three distinct playing tips, allowing guitarists to switch between different tones and attack styles within a single pick. It’s about providing versatility and giving players more creative options.

These designs benefit guitarists by offering improved ergonomics and personalized playability. The unique shapes are carefully crafted to fit comfortably in your hand, reducing fatigue and enhancing control.

By pushing the boundaries of traditional pick design, I’m aiming to create tools that inspire creativity and adapt to the diverse needs of musicians.

Whether you have larger hands, prefer a certain grip, or play a specific style of music, there’s likely a pick in my collection that feels like it was made just for you.

For guitarists used to traditional picks, what would you say are the main advantages of switching to a Stadler Pick?

To summarize, the feedback I receive from guitarists who first try my picks is pretty unanimous: they feel amazing and sound incredible.

It’s always a thrill to see sceptics – those who initially doubt the material or find it too expensive – become enthusiastic after just a minute of playing with them.

More specifically, switching to a Stadler Pick offers several advantages:

1. Superior Grip and Ergonomics: The natural properties of horn – it doesn’t become slippery when wet—combined with 3D grip patterns and ergonomic design, provide a secure and comfortable hold without the need for excessive pressure. This allows for a more relaxed wrist position, leading to less fatigue, better control, and improved dynamics during playing;
   
2. Improved Tone: Horn produces a warm, rich tone with excellent clarity and articulation, often considered superior to common plastic picks;
   
3. Environmentally Friendly Choice: Unlike plastic picks, which are made from non-biodegradable materials and contribute to environmental pollution, horn picks are made from a natural, biodegradable material that’s a by-product of the agricultural industry. By choosing a horn pick, you’re making an environmentally conscious decision that reduces waste and supports sustainable practices;
   
4. Consistent Feel Over Time: Horn abrades differently than plastic. As it wears, it retains a consistent feel due to its smooth and organic wear pattern. This means your pick maintains its playability and comfort throughout its lifespan;
   
5. Aesthetic Appeal: Each pick is a work of art, featuring unique patterns and finishes that reflect a high level of craftsmanship;
   
6. Wide choice of designs, sizes, thicknesses, edge profiles and tip shapes.

For guitarists looking to enhance their playing experience, a Stadler Pick offers both functional benefits and a deeper connection to a finely crafted, environmentally responsible instrument.

Do you have any tips for maintaining and caring for horn picks to make sure they last long?

So I should probably address the underlying question here since it is a question I often get: how long do they last. The simplified answer is: long enough. If you’re a really aggressive player averaging several hours a day, seven days a week, they will of course wear a bit faster. But for most players, they’ll last a really long time.

Especially if you use several different picks, wear won’t be a significant issue. I have many clients who still play with picks they bought years ago.

At events like the Guitar Summit where we met, it’s always nice to see people who bought their first pick last year come back to share their experiences. They usually buy the same pick in a different material or thickness, or try an entirely different model to broaden their horizons.

Most of the picks I see that have been played for a year still have a couple more years of life left in them as far as I can tell.

When it comes to maintenance, there’s really not much you need to do to get the most out of my picks. The main thing to be mindful of is heat.

You should avoid leaving them in direct sunlight or exposing them to temperatures over 45°C (104°F), as excessive heat can lead to deformation.

So, just be careful not to let them lie in the midday sun or anything like that. That said, I’ve had multiple reports of my picks that had been forgotten in a jeans pocket making it unscathed through a washing machine cycle!

I always say, “Don’t do to your pick what you wouldn’t do to your hair or fingernails” since horn is essentially made of the same base material – keratin.

One important thing to remember is not to bend the picks by hand. Many guitarists have a habit of bending a pick to test its flexibility, but because horn has parallel fibres, bending it the wrong way can cause it to break in half.

That’s why I often display my picks under glass at guitar shows and encourage people not to bend them like they might with other picks. Picks never break when you play, but they can break if you bend them.

Also, the ‘bending test‘ doesn’t really make sense with my picks because the material feels and sounds so different when you actually play.

Even if I find you a pick that matches your preferred flexibility in a bending test, it will feel and sound completely different once you play it. So I would suggest: forget everything you know about picks – just play and try them out.

Regarding edge maintenance, some clients choose to repolish the edges. When the picks are new, the edges are highly polished through a laborious multi-stage handmade process.

This initial polishing compacts and levels out the material, resulting in an almost glass-like edge that’s very fast off the strings. The purpose of this polishing is to ensure that the pick abrades more consistently over time.

As you play, the polished edge will naturally abrade, developing a bevel that reflects the angle at which you hold the pick. This “breaking in” process allows the pick to conform to your playing style. Many players appreciate that after some use, the edges have a bit more grip.

For those who prefer the original polished, glass-like feel, you can repolish the edges using a Micromesh fingernail polishing file, a plain piece of leather, or even by rubbing it on your jeans for a quick semi-polish. However, most players enjoy the natural wear, so only a small percentage choose to repolish the edges.

In summary, there’s really nothing special you need to do – just play and enjoy your pick!

As a pick maker, what’s your perspective on the evolution of guitar playing techniques and how picks contribute to a player’s style?

Guitar playing techniques have evolved dramatically, with players constantly pushing the boundaries of what’s possible. Picks are often a crucial part of this evolution – they’re the interface between you and the instrument.

Different pick designs can enable new techniques and sounds. For example, a thicker, sharper pick might facilitate faster picking styles, while a thinner, more flexible pick could enhance strumming dynamics.

As a pick maker, I strive to create tools that not only accommodate but also inspire these evolving techniques.

By experimenting with materials and shapes, I aim to provide picks that help players explore new sonic territories and express their unique musical voices.

And the term ‘explore’ here is the key word and I usually don’t try to anticipate how clients will use the guitars or picks I create but just make tools that inspire and see where that takes you.

You mention that 80 percent of the production time for each pick is done by hand. Can you tell us more about this process and why it’s crucial to the final product?

The handcrafted aspect is a significant part of what makes my picks special. First, to precisely cut the picks on the CNC machine, there’s a very complicated and laborious procedure to prepare the horn material into the right format.

Since horns come in all sorts of sizes, shapes, and curvatures, the first step is to cut rectangular plates from the raw material.

That in itself is quite a challenge, as is finding good raw material in the first place since I only use specific parts of the horns that yield the best and most consistent material.

Once the raw plates are cut, they have to be precisely dimensioned and planed down to a common thickness. This material preparation all happens with hand tools.

Because I need a final precision of ±0.05 mm, the material preparation process needs to be spot-on. It’s one of the stages that took me the longest time to figure out and perform with repeatable consistency.

While CNC milling provides me with the precision to cut the initial blanks, the true craft  happens during the hand-finishing stages. This involves meticulously shaping, sanding, and polishing each pick to achieve the desired edge profile, tip shape, thickness variations, and ergonomic contours. 

It’s also at the polishing stage that the minute decorative patterns are revealed which is a delicate process that can’t really be done with machines.

Hand-finishing allows for a level of detail and quality control that’s unattainable through machines alone. It ensures that each pick meets my exacting standards for playability and aesthetics. 

This hands-on approach is crucial because it brings out the unique characteristics of the horn material and results in a pick that feels like an extension of your hand.

It’s also the last stage of quality control, since horn is a naturally variable material sometimes there are imperfections or inclusions inside the horn that only reveal themselves in these final stages and wouldn’t be caught in a more industrial process.

Many guitarists have a favourite pick that they’ve used for years. How would you convince someone to try a Stadler Pick instead?

I completely understand the attachment to a favourite pick – it’s a trusted tool in your musical journey. However, I encourage you to experience the difference that other shapes and materials can make.

The combination of superior materials, ergonomic design, and handcrafted quality can enhance both the feel and sound of your playing.

Trying a Stadler Pick might reveal nuances in tone and comfort that you hadn’t noticed before. It’s not necessarily about replacing your favourite pick but about exploring new possibilities that could elevate your playing experience.

You offer custom orders for picks made from ram horn and Galalith. How do these materials differ from water buffalo horn in terms of sound and feel?

It’s difficult to put these differences in words in think it’s something that is best experienced since describing sound and feel with words is very subjective.

Rams horn and buffalo horn share the same organic sound and non-slippery material properties but each offer different tonal and dynamics experiences. Denser and slightly harder than water buffalo horn, rams horn produces a bright, articulate tone with crisp attack.

It’s excellent for players seeking enhanced clarity and precision. Water buffalo has a slightly warmer tone and feel, especially for flexible picks. I personally don’t have a favourite between the two. 

Now Galalith also known as ‘milk stone’, is a bioplastic made from casein, a protein found in milk and was invented in the late 19th century but production stopped in the late 60’s as oil-derived plastics dominated due to their versatility and cost-efficiency.

Because of the limited stock I reserve this material for custom shop orders. For plectrums it only lends itself to making thicker picks. It has the advantage of having virtually no wear when it’s polished so it can potentially last a lifetime.

It has a very bright sound compared to horn but more organic than plastics. Because the edges can be polished to an extremely glass like finish it is very popular with sweep pickers and other players who like a pick that is super fast of the strings.

It doesn’t have the no-slippery properties of horn but since the 3D shapes of my picks provide better grip already it’s not a big deal for most players.

By offering custom orders in these materials, I provide guitarists with the opportunity to tailor their picks to their specific sound preferences and playing styles.

Can you explain the concept of ‘pick dynamics’ and how your 3D designs affect this aspect of playing?

‘Pick dynamics’ refers to how the pick responds to your touch and influences the expression of music through variations in volume, tone, and attack. The design of the pick—its thickness, shape, and material—directly impacts these dynamics.

My 3D designs enhance pick dynamics by incorporating varying thicknesses and ergonomic contours. For example, a thinner tip can provide flexibility for softer playing and nuanced expression, while a thicker body offers stability for stronger attacks.

The raised grip patterns not only improve hold but also allow for subtle adjustments in angle and pressure, giving you greater control over your sound.

Another parameter that influences attack and dynamics is the profile of the edge. It’s quite interesting for example to play a soft flexible pick with a hard edge, you will get the comfort of aa bouncy pick response but have less of the drawbacks of a soft plastic pick which will have a lot of deformation and thus delay when it hits a metal string.

By thoughtfully designing these aspects, I aim to empower you to fully express your musical intentions.

For beginners who are just starting to explore pick options, what advice would you give them about choosing the right pick?

For beginners, experimenting with different picks is essential to discovering what complements your playing style. Here’s my advice:

• Don’t be afraid of stiff picks: a lot of beginners like to play with very soft plastic picks because they are more ‘forgiving’, meaning your mistakes don’t jump out so much. But this is also a bit counterproductive when you’re learning and can form really bad habits and hamper your technical progression. In my experience good players will eventually gravitate to a harder pick since it offers more precision and control and a much more dynamic sound;

• Experiment with materials, shapes and thickness: most experienced players don’t use the same pick for different musical styles or techniques. Acoustic or electric; light or heavy strings; strumming or soloing; sweep or alternate picking; metal, funk or jazz .. all these elements will be better served with different picks;

• Try not to pinch your pick too hard: the more you pinch your fingers the more your wrist will lock up. You can easily see this if you pinch your thumb and index finger together and look at your wrist muscles and tendons. So the less you have to pinch to hold the pick in place the more relaxed your wrist will be which not only gives you more control but also results in less strain on your wrist.

Remember, there’s no one-size-fits-all answer. The right pick is the one that feels best to you and enhances your enjoyment of playing.

There is no ‘magic bullet’ that will instantly make you a better player so don’t listen to anyone telling you about ‘the best pick is…’

I have met many amazing players that play the same guitars and similar styles but use completely different picks and techniques.

You also make beautiful pick boxes to store Stadler Picks. Can you elaborate on this product?

Certainly! The pick boxes are handcrafted accessories designed to complement the artistry of the picks themselves.

Made from high-quality woods and often featuring intricate inlays or carvings, these boxes serve both functional and aesthetic purposes.

They provide a safe and stylish way to store and display your picks, protecting them from damage and showcasing them as the works of art they are.

The boxes can also be personalized, making them a perfect gift for guitar enthusiasts or a cherished addition to your own collection.

Looking to the future, do you have any new designs or materials you’re excited to explore in pick-making?

Absolutely! I’m continually experimenting with new designs and materials to push the boundaries of pick-making. 

Currently I’m finalizing the production techniques for my range of thumb picks, but they are incredibly complex to manufacture so figuring out a way to make them affordable is a big hurdle.

I also always go to material trade shows and follow material research publications to evaluate new materials. You never know what might pop up.

But so far, my search for truly eco-friendly, biodegradable materials always hits the same wall: green-washing. PLA, celebrated as a ‘green hero’ in 3D printing, is a good example.

Marketed as a sustainable, bio-based option because it’s made from renewable resources like corn, PLA seems eco-friendly at first glance. In reality, though, it only biodegrades under industrial composting conditions, meaning most PLA waste sits in landfills, degrading as slowly as regular plastic.

PLA production also relies on resource-intensive agriculture, using land, water, and pesticides. Worse, most PLA filaments are loaded with non-biodegradable additives like dyes and sparkles, making them even less eco-friendly and potentially harmful.

‘Pick dynamics’ refers to how the pick responds to your touch and influences the expression of music through variations in volume, tone, and attack. The design of the pick – its thickness, shape, and material – directly impacts these dynamics.