# Music by Genre > Celtic, U.K., Nordic, Quebecois, European Folk >  Irish trad players - favourite picks/plectrums?

## ruraltradpunk

So I've had my lovely Moon mandolin for about a week now, got a bunch of different plecs to try out and I'm not really happy with any of them. Was just curious to hear what "pick of choice" any Irish trad players out there are using. Over on the session.org I'd read posts where some folks prefer lighter picks. So far I've tried a .75 Herco that was great for triplets, but kind of lethargic otherwise and noticeably less tone and volume than either of the 1.0 Dunlop or Fred Kelly picks I tried. Also tried a "Big Stubby" and found it too blunt, not enough attack for my liking. Any recomendations? 

RTP

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## 12 fret

I've seen where a lot of very good Irish players advise medium picks in to .60-.70 range. I've tried but just can't use a pick that light. can't get clean triplets with the flexible picks and get too much noise. I use either 351 size heavy or ex heavy picks or I use tri-corner buffalo horn picks that I add point and add an extreme bevel. Like the horn best but I'm too lazy to keep up with the shaping and beveling, They do seem to give me best sound and control on mandolin and guitar

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## Bren

I can't find the plectrums (plectra?) I like any more but just got a bag of Jim Dunlop Tortex Triangle picks in 1.0mm and 0.88mm from Strings Direct at £3.50 for 10 and they work pretty well for me.
The 1.0mm on the normal mando and .88 on resonator and banjo.
I am used to noisy environments and cheap instruments and probably play too "hard".
I've noticed better players mostly use lighter picks than me, often a JD .73mm.
Moons have plenty of projection so shouldn't need to be hit too hard.

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## PseudoCelt

I use a 1.14mm Dunlop Gator Grip on mandolin, mandola and bouzouki.

My favourite pick used to be a green .88mm D'Addario pick that I'd had for years. I lost it last year and got a Dunlop Tortex of the same thickness to replace it, but it never sounded as good as the D'Addario. I moved onto a thicker pick and now I prefer them.

Most of the mandolin players I know use thinner picks, around .73mm. They seem to like them. I think thinner picks give a more trebly sound, which may be easier for the player to hear in a noisy session, but I don't like the tone as much.

I briefly played a Moon A+ in a session a few weeks ago. It was one of the loudest mandolins I've come across. Whatever pick you use, you shouldn't have a problem being heard!

Patrick

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## mandobsessed

I use a Gator 1.14 for live gigs as they are grippy and less likely to slip under hot stage lights. For recording I use a Golden Gate or other heavy plastic pick as it gives a cleaner sound and less pick noise. When you first try triplets on a heavy pick it's hard but you get used to it pretty quickly.

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## ruraltradpunk

Thanks for all the replies everyone! Gonna try out the Gator 1.14 for definite (I have a 1.5 Gator that is just way too heavy, but I do like how it feels, gripwise) Will try to get something else in the .88 range as maybe that will end up being a happy medium between the .75 and the 1.0 that I've been using. Ok, gotta go play my mandolin now!

RTP

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## TimPiazza

Why not just take your Moon to a music store that has boxes of pics that they sell per piece (rather than in plastic pouches like Guitar Center) and sort out which pick shape and thickness give you the best tone and volume, then learn whatever technique is necessary to use that pick?

I play with a thick tortoise pick on the mandolins and other 8 stringed beasties, but I use a thin, pointy pick on the tenor 'jo. On the tenor, I change the thickness to control my volume, depending on the mix of other instruments. Thinner pick, less volume. Lots of fiddles, thicker pick. :-)

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## danb

.72 clayton rounded triangle on oval holes, .92 on f-holes

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## jmcgann

1.5 mm 500 series Tortex. Rounded corner rather than the point.

Or a sheet of #20 copy paper shaped like a pick

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You may want to give the Dava control picks a try. the solid green ones as opposed to the ones with inserts at the tip.
They are pretty good as you can back off or lay into the tune using slightly more or less pressure on the pick (increased pressure, say for triplets)

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## mikeyes

I think that the type of mandolin that you have will often dictate the pick you use. A carved top mandolin requires more initial energy to get a full tone out of the instrument. Thus a .63 nylon Dunlop will not be able to drive through the J74 double courses without flexing to its limit while a stiff pick will develop the tone better assuming good technique.

The problem a lot of tenor banjo to mandolin players have is that technique is shaped by the style of pick to some extent and triplets don't come as easily with a thicker pick. I have found that if you hold the pick loosely you can make the triplets as easily either with the wrist or finger technique. The tendency is to want to grip the thicker pick strongly, but that makes triplets a lot harder.

Flat top mandolins do better with thinner picks (and smaller gage strings) because the top does not need as much energy to achieve a good tone. I am a big fan of tone over ornaments in the music and don't like the thin sound of thin picks on old A model Gibsons (for example) and much prefer the sound of a flat top mandolin played with a thin pick.

Banjos, on the other hand, are loud beasts and don't need as much pick energy to drive them. To a point thicker picks (and in this case we are talking about .50 to .73) improve tone, but after a certain point thicker picks don't sound as good. Banjos are designed to cut through a band so they have both volume and a treble sound. 

When I talk about thickness, I really mean stiffness although a thick pick will give a different tone than a thin pick of similar stiffness. So a .73 nylon pick is not very stiff, while a .73 tortis pick is much stiffer and more able to impart energy and drive through the courses without flexing as much and lose a lot of energy especially to drive the second string of the course. I happen to like the tonal qualities of a thicker pick no matter what the material but there are limits. (The Wegen 5mm Gypsy pick is one.)

I use a variety of picks on my mandolins, mostly thicker picks like the Dunlop 207/208 and Wegen 1.20 triangles. The latter are easier to use in sessions because I can play the ornaments faster with them but my best tone is from the 1.5 to 2.0 mm picks on my Gibson F5.

I have an old Stella mandolin that a .73 Dunlop sounds great with while my F5 picks only overwhelm the top and the tone fades out. While this mandolin has low volume, it is sweet sounding and I can play it over a microphone to good effect.

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## oggiesnr

The usual answer is "whatever pick my son hasn't nicked!" but the one I keep tucked in the strings is a D'Andrea Spectra. I've had it so long thatthe gausge has worn off but it feels about 1mm and is the bright green member of that family. Currently using it on a Fender but it was also pick of choice on my 1908 Gibson "A" (someone sneeked it out of a session when I went for a toilet break  ) The pick was in my pocket, the Gibson in someone elses coat!

All the best

Steve

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## danb

I think heavier picks in general define bluegrass tone, as the treble response isn't as pronounced. When I want to play a monroe tune, I go to a heavier stiffer pick to get more response from that end of the instrument.

Conversely, the articulation of triplets happens largely as a rhythmic event or in the treble, so I'll use a lighter pick to get the right tone there.

It's fairly common for different styles & players to be amazed at pick differences.. Tenor banjo players look at my .72 claytons like they are chunks of granite, and typically will play mando with the same tissue-thin picks they use on banjos. As you get thinner and thinner you lose some dynamics too, the soft touch vs the hard touch makes less of an impact.

But personally, I went from Fender Mediums (rounded triangle, usually white plastic) through a couple other varieties, and finally settled on the Clayton Ultems because they very rarely "Chip" or develop nicks that bind on the string. I feel like I hardly ever "Wear a pick out" when I'm playing these, even when the point wears it still works just as well.

But consider the tone differences you get from a heavier pick, and keep some examples around. You might find there is a pretty big difference in styles for which pick you might want to use! It's a whole different lingo to play Irish tunes.

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## mikeyes

I agree, Dan, at some point it becomes a matter of taste and of the response of the individual instrument. I like a sweeter sounding instrument for Irish music but the more complex tonality of a Gibson F5 works too. The important thing is to make sure that your instrument is used to its fullest and not made into a whiney trebly shadow of the real thing by employing a too thin, too flexible pick.

"De gustibus non disputandum est" after all. ("One should not dispute matters of taste".) Not that we ever pay attention to that.

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## jmcgann

> But consider the tone differences you get from a heavier pick, and keep some examples around. You might find there is a pretty big difference in styles for which pick you might want to use! It's a whole different lingo to play Irish tunes.


As much as I want to say 2000 excellent practioners of thinner picks can't all be wrong, I don't subscribe to the theory that thick picks give you a 'bluegrass' sound. I think thinner picks don't allow you to draw the full spectrum of tone from a mandolin or guitar, and that the treble sound, _for my playing only,_ is far too "lite". While I don't play as many picked triplets as most trad players, I do use them in combination with fiddle style ornaments, and while the snap of the thinner pick is a great thing, _ for me and for my playing only_ the tone is a compromise...I have NO trouble with Dan B or Andy I or Mick M or anyone else who chooses a thinner pick- I speak for myself only.

I try like hell to not sound like a slumming Bluegrass player when playing Irish music (or Jazz, for that matter).

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## danb

This is the irony of it all, .72 looks thin to some folks and heavy to others. Usually on the BG side the picks come heavier, and on the Irish they come lighter

The point I was getting at is that you can get a pretty interesting shift in tone from a .72 to a .92 and beyond. The darker tone of a heavier pick sometimes is just the tonic

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## DeamhanFola

> When I talk about thickness, I really mean stiffness although a thick pick will give a different tone than a thin pick of similar stiffness. #So a .73 nylon pick is not very stiff, while a .73 tortis pick is much stiffer and more able to impart energy and drive through the courses without flexing as much and lose a lot of energy especially to drive the second string of the course. #


I definitely echo mikeyes's sentiments here. I used a thicker Dunlop nylon pick for trad until I discovered the Dunlop Ultex .73 plectum. It's a thin pick but much more rigid than others of the same gauge. The best of both worlds in my book--balances firmness & flexibility for fast triplets without losing too much bass & volume.

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## ruraltradpunk

More great responses! Thanks all! Interesting re: the .73 nylon not being as stiff as the .73 tortis - the .75 Herco I tried was nylon, so now I think I'll see if I can get a .73 Dunlop Ultex/tortis pick to try out instead. Will be going up to Dublin with the mando next week so will take Tim's advice and go round the music shops trying out picks.

RTP

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## Paul Kotapish

Triplets are a tad trickier with these than with a lighter pick, but the Wegen TF140 is my current favorite for everything--traditional jigs, reels, and hornpipes included. I think that there is a little trade off in brightness for overall warmth of sound with this pick, but that's to my liking. I think the secret to making right-hand triplets work with a heavier pick is to just back off the intensity a bit and play with a lighter attack when starting the ornament.

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## jmcgann

The Gypsy players a la Django play very fast triplets DUD DUD with picks that range from about 3mm to 5mm, and since they tend to not ever switch strings with a downstroke, the argument for pick flexibility to execute triplets doesn't really hold water. Sure, the tone is different, but in terms of the oft-heard "you can't get snappy triplets with a thicker pick" (usually meaning anything over .70 or so)... it's not the fault of the pick.

As Paul mentions, adjustments to the right hand can make a world of difference.

Just about every practioner of Irish rhythm guitar that I've met (or listened to on recordings) prefers a thinner pick- maybe Fender medium at the heaviest- the 'pick click' seems to be a very desired part of the sound. I love hearing other people do it, but it's just not how I feel and hear it for my own playing.

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## Sarge

I 2nd the TF-140s, those are by-far my favorite overall pick.

Often I find my self using the gators though for irish-style music: 1.5's on the mando and 1.14 on the OM.

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## Paul Kotapish

> Just about every practioner of Irish rhythm guitar that I've met (or listened to on recordings) prefers a thinner pick- maybe Fender medium at the heaviest- the 'pick click' seems to be a very desired part of the sound. I love hearing other people do it, but it's just not how I feel and hear it for my own playing.


Mícheál Ó Domhnaill advocated the use of the large, fully triangular Fender medium pick, and a lot of us followed that advice--for a while, anyway. I loved it for trying to imitate Mícheál's playing, but it wasn't much good for my own style--such as it is. Sure sounded good when Mícheál used it, though.

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## withak

I like the thin ones of these, or anything else in that shape. They are easier to hold on to, though there is a noticeable change in the way they play after the points wear down. Luckily they come with three points

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## EdSherry

I've used a stiff (red) nylon 1mm Dunlop for years, but they don't make them anymore. #(Paul Kotapish was kind enough to send me a supply.) #

I'm currently also using the Wegen 1.4mm "Bluegrass" pick (yeah, I know ...), which I like a lot for tone but which I find a bit thick for easy triplets (I'm working on it).

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## Dena Haselwander

I play a Moon mandolin also; I sometimes use a Dava control pick but always go back to the Dunlop Ultex .73--it seems to bring out a more bell-like tone on my instrument.



Dena

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## Narayan Kersak

I like the pro plec 1.5 mm standard guitar pick shape. I hold it very close to the smallest point and allows me to play nice and clean with great tone.

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## Keith Miller

sharkfin for me..can't beat them, lost plenty but never had one break

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## Dagger Gordon

Keith,

I'm a bit surprised you use a red Sharkfin for mandolin. 
I've experimented with them in the past and I think even used one for some of my 'Highland Mandolin' recording, but they're pretty light in terms of getting any volume. Better with a white Sharkfin, I would have thought. However, if it works for you....
I've used white Sharkfins almost exclusively for about 20 years, but I have recently been trying Dunlop 60's (orange ones) to try to get more volume. I am getting more volume, but I find it's affecting my playing style. I like to go for chordal effects while I'm playing rather than only single notes, so maybe I'll try something else.
I have to say I've never liked stiff heavy picks at all.

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## JeffD

> the Wegen TF140 is my current favorite for everything--traditional jigs, reels, and hornpipes included.


What a great pick.

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## Keith Miller

Dagger,
I actually use a blue one, just couldn't find a pic of the blue so red it had to be just to show the shape  I find the white a wee bit thin but its all down to preference I suppose, 
Keith

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## Shana Aisenberg

I used Dunlop nylon .73 or .88 for years. Currently using heavier picks, Wegen M150s (rounded) or TF140 (triangle). Have been using TF100 or TF120s on guitar, and occasionally use those on mandolin too. On zouk, using Herdim, three corner nylon picks, usually the stiffest corner. 

Seth

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## Dagger Gordon

Just tried out blue Sharkfins in the music shop. Seem to suit me fine and definitely louder than the white ones without compromising my playing style, so I expect to use them for a bit. 
I think the pointy shape of the sharkfin is what I like. I really didn't much like the Dunlop 60 much at all.
So I think I'm happy. Thanks for the tip.

Cheers,

Dagger

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## Martin Jonas

I'm using different picks on different mandolins: Wegen 1.0mm bluegrass guitar pick on my cittern and the Gibson Ajr and Dunlop 1.0mm nylon on the Mid-Mo. Both give good volume, triplets are a bit snappier with the nylon pick, which also has less pick noise, but on the Gibson the tone is better with the stiffer Wegen. I play with the "normal" pointy tip.

Martin

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## zoukboy

On mando I use the large triangular Clayton "Ultem Tortoise" picks - usually the .072 but sometimes a .080 or even a .094 depending on the instrument.

For bouzouki I tend to use the regular white acetal polymer Claytons in the same shape but .063.

For tenor banjo I use a Snarling Dogs "Brain" pick. It's green and has the "cat's tongue" surface that helps keep it from slipping around. It's a .053. It has a "memory tip for accurate picking" whatever that means.

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## TheBlindBard

I'm currently looking into different types of picks. I find that the paper-thin picks are a bit difficult for me to use, so, I"m going to try some jaz picks, seeing as how jaz guitar and ITm mandolin are similar in the fact it's singular notes and ornamentation, kind of. Also looking into finger-picks to try those out :Smile:

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## Paul Brett

Dunlop Tortex .60mm I've a Jimmy Moon A2. Never liked heavier plecs on any earlier mandolins.

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## Anglocelt

I have been through many types of picks and I currently favour Cool Picks. They are made of a thin but quite stiff and heard wearing non-brittle white plastic material and have a very useful rough sand-textured pad each side for grip - much more secure than Tortex/ Dunlop standards. I use Cool Picks Medium for mandolin - carved tops which need a bit more welly to bring out the tone than flat-tops do - and a light or extra-light version for tenor banjo. I have to import these using Elderly (great service!) as I can find no UK or other EU supplier.

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## BBarton

Great thread!  'Quite apparent that a lot of personal taste and individuality (and of course the music played) goes into pick choice.  I let a "student" who also has a new Moon choose from a bunch of picks I had, and she ended up choosing the Ultex .73 as well, as a reasonably versatile pick for her style and level.  I like those too, but personally prefer the 1.0 Ultex (or Blue Chip 40, about 1 mm, despite their high cost).  For tenor banjo though, it's either Clayton Raven .50 or Dunlop Tortex .50 now.  I used Dunlop Nylon .60 for awhile, but when they get warm during session playing, I find they get sloppy (or maybe that's just me after a couple of pints!).

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## Eddie Sheehy

A triangular Clayton .060 on my TB and OM.  Blue Chip TD 50 on my mandolins and mandolas.

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## Jill McAuley

Jaysus, 'twas me started this thread back in '07, mad to see it resurrected again! My plec of choice nowadays is a Bluechip TP 35, which is something like .89mm. Can't see meself using anything else for the forseeable  future.

Cheers,
Jill

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## Dagger Gordon

Since this original thread started, I see I've changed.

I used to use a white Sharkfin for everything and still use it for guitar and octave mandolin. I now use a Dunlop nylon .88 for mandolin and tenor banjo. I see I was experimenting with a Dunlop .60 back in 2007.

I don't like them any heavier than that, which is probably quite light by most people's standards.

Hey Jill, Grand to see you posting again!

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Jill McAuley

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## John Kelly

Clayton triangular and 0.80mm at present, but at Christmas ny younger daughter gave me one of those big punches which push out picks from old credit cards,etc.  I have been having fun with this and you can arrange the card in it so that the raised numbers are just in the right place for grips.  You have to smooth off the edges from the punching but once done the picks are actually quite good.  I have rounded the tip more for playing the mandolin and octave.
Jill, good to see you joining in - been missing your postings and especially your playing.

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Jill McAuley

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## Jim Bevan

I'm with Jill -- a Blue Chip 35.

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## Jim Bevan

wait... my pick says TD on it   :Whistling: 

stands for Tra Dishnle?

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## Jonas Bombeke

I switch between the Dunlop nylon 0.60mm and 0.73mm plectrums, it depends.
I can't use much heavier picks on my mandolin though, and the bass seems to overpower the treble when I do (when playing chords, that is), although that's probably because I have a low-end mandolin. It does the job, though.

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## whistler

I've been loyal to the Dunlop .73mm for many years now.  (The grey kind - the coloured ones are not the same).  I also have a Snarling Dog 'Brain Pick' .73mm, which is much the same as the Dunlop, but the surface texture is less comfortable under the fingers.

I used to use the Dunlop .88mm.  I think I moved on to the .73mm when the shop was out of .88s, or I bought the wrong gauge by accident.  But I got used to it and, when I tried going back to the .88mm, it seemed heavy and unyielding.  I've never found the .60 much use on the mandolin - except if I specifically want to play quietly.

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## Bertram Henze

Triangular Clayton Spike 0.72 for OM.

+1 Cheers to Jill

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## Annette Siegel

I am a novice to the Irish Trad. Mandolin...so I turned to Marla Fibish to ask what she uses and its a a 1mm Steve Clayton Acetal, I find it more in the middle...since the proplec is really stiff, though great tone, it's not as flexible to me as the MF pick. She also rounds the edges with a nail file a bit. If you want one I've had a bunch made up for our business name/logo www.livingtreemusic.com just sent me an email through our webpage with your addy and I'm happy to send one (or two) if you like, no charge.

Best, Annette
www.livingtreemusic.com

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## Jill McAuley

I have a TD 35 (that I use the rounded shoulder end to play with) and then I also got the folks at Bluechip to make me a custom one, which I now realize is a TPR 35 (three point rounded) - it's easier to hold than the TD35 which I found rotated around a wee bit when I was playing.

For tenor banjo and tenor guitar I've been using a .73mm Jim Dunlop nylon plec and really like it's balance between being not too thick and not too thin.

Cheers,
Jill

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## Loretta Callahan

I like the Blue Chip TAD 40, but realize I need less of a pointy pick ... so I'm leaning towards the TPR 45 or 60.  I also like the Wegen M100 and M150 and VPick Jazz Mando ....the latter having a kind of clickey sound that doesn't work on some tunes. 

I tried Marla's Clayton pick recommendation ...  with some sanding, but it just didn't speak to me.  

 My taste seems to be morphing towards fatter and rounder picks.  Hmmm .... kind of like how I'm morphing.   :Redface: 


Sweet to see John McGann's posts in this thread along with Jill's old handle as the OP.   Thanks for bringing it back, Blind Bard.

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## Jock

Orange Tortex for Mandolin

Clayton .50mm for Tenor Banjo

Red Tortex for Guitar

Whilst the Clayton .50 and Red Tortex are more or less the same weight, I find the different materials have different qualities that don't translate, to my tastes, from banjo to guitar.

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## doon can

Dunlop Ultex .90 for guitar and mandolin. But try finding the thing if dropped on a wooden dance floor!

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## liestman

Blue Chip TAD 40 for mandolin for me and a Blue Chip TAD 20 for tenor banjo (made by me from a TAD 40, not all that much work actually).

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