There's quite some material, thickness and shapes to chose from. Not to speak of the notorious issue of playing technique.
But things also depend on which strings (most notably the gauges) one plays on which bass or guitar.
I find myself using more rigid and thicker picks on jazz guitar than on bass. E.g. Dunlop JD Jazztone or even stone picks.
On bass, over time i've gotten just used to standard (351) shape. As for material, I like celluloid best (medium to heavy gauge), it has a nice attack, good dynamics and a decently warm and natural tone.
I never was too wild about nylon. This is a relatively soft material, so tone is less bright than with celluloid. Guess 1 mm is considered standard for bass.
Tortex is said to have been developed as an approximation to since long illegal tortoise shell picks, but I find it way too rigid for my purposes.
As for technique, I prefer a lateral full contact, yielding a full-bodied "clicky" attack.
If you're looking for a different type of sound, you might try some diagonal scraping which yields a bright scratchy attack (think Steve Swallow). Or you even might try "shoveling" beneath the string which yields a pronounced crisp attack (think Joe Osborn).
But things also depend on which strings (most notably the gauges) one plays on which bass or guitar.
I find myself using more rigid and thicker picks on jazz guitar than on bass. E.g. Dunlop JD Jazztone or even stone picks.
On bass, over time i've gotten just used to standard (351) shape. As for material, I like celluloid best (medium to heavy gauge), it has a nice attack, good dynamics and a decently warm and natural tone.
I never was too wild about nylon. This is a relatively soft material, so tone is less bright than with celluloid. Guess 1 mm is considered standard for bass.
Tortex is said to have been developed as an approximation to since long illegal tortoise shell picks, but I find it way too rigid for my purposes.
As for technique, I prefer a lateral full contact, yielding a full-bodied "clicky" attack.
If you're looking for a different type of sound, you might try some diagonal scraping which yields a bright scratchy attack (think Steve Swallow). Or you even might try "shoveling" beneath the string which yields a pronounced crisp attack (think Joe Osborn).
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