Well...
The Wolle pick example shows that classical performers prefer a thick though quite flexible pick. Us bluegrass folks like stiff picks. I doubt that any of us would like to use a Wolle pick for bluegrass.
My "holy" pick is a "material that must not be named" pick that is quite thin (about 1 mm) that is very (!) stiff. I have had it since Christ was a cowboy. It makes all my instruments sing like angels. (Because I only have this one "holy" pick, I only use it on recordings or very important gigs.)
There is a video by Catarina Lichtenberg and Mike Marshal where they compare their mandolins ("taterbug" against Lloyd Loar F-5). This makes it fairly obvious why CL uses a pick that darkens the sound of her mandolin.
All of this goes to show that maybe there is no one pick fits all. (I seem to recall a Jody Secher statement that he likes to swap picks depending what tune he plays on his Stan Miller A-5 and that he has an open pick box atached to his mic stand to be able to chose a pick to pick the appropriate tune with. I definately donīt go that far: "I use a variety of picks so I'll be prepared for different sonic situations. It depends on the mic and if I'm on stage or in the studio. In the studio I tend to go lighter, though still pretty heavy. For recording I use whatever makes the least noise on impact. I don't use real pointy picks though a rounded point is ok. Paul Hostetter has made me some great picks from new and old celluloid. One looks like a blue ceramic coffee pot. His wife Robin dubbed another "designer bacon" (the striped pattern suggests that), another looks like a fossilized butterfly." quoted from: https://www.mandolincafe.com/news/pu...s_001242.shtml)
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