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Use of Plectra - "How we hold our pick is how we organise our life" (Guitar Craft Aphorism)

Extract from Robert Fripp's Diary: Friday 15th June, 2001

Arriving at the club, waiting for John Sinks to open the door, I sensed an approaching presence: I know this sense - a fan was moving towards me, and they wanted something. Nothing "bad" about this person, a grey and mature King Crimson fan, and in any other context a joyful encounter. In this context, I was an object. The exchange:

G&MF: May I ask a favour?
RF: I'd rather you didn't.
G&MF: Can I have a pick?

Why ask if you can ask a favour if you have no intention of not asking anyway? But, the question was also continually addressed to John Sinks at the show, and the answer is no. There is a good reason.

The picks I use are not manufactured anymore. I have a small supply, this supply is dwindling and, unless a firm manufactures picks to my specification (we have tried without success for 14 years) must last me for the rest of my performing life. These picks are a necessary tool for me in my playing & are specific to the way I play. Regardless of the "fetishisation of the inherent and delineated meanings of my picking style", I don't have picks to give away - not even to Guitar Craft students.

Please read the amazing History of the Guitar Craft Plectrum by Steve Ball which tells it all.

Being made of the same material as finger-nails, tortoise-shell picks are superior to plastic or nylon in terms of tone production and offer a perfect compromise between flexibility/elasiticy and rigidity/strength.

They are also incredibly hard to find - the worldwide ban on the commercial exploitation of tortoises means there is a finite and dwindling supply.

Tip - A delapidated mandolin in a garage sale might be worth the buying if the case contains a good supply of tortoise-shell plectra.

Various shapes, size and thickness - all made of tortoise-shell. Note the (broken) bass pick at far left.