Jason Mariani is an Ojai, California-based producer and sound engineer with a Grammy Award for his work with Mumford & Sons. His additional credits include Kenny Loggins, Joe Bonamassa, Robben Ford, Supertramp, Big Bad Voodoo Daddy, and drummer Simon Phillips — whose resume spans Jeff Beck, Pete Townshend, Joe Satriani, Toto, and The Who. Most of his work takes place at Carbonite Sound in Southern California.
Jason was brought in to analyze the audio recordings made during the Attak Pik's initial R&D process — blind comparisons of standard flat picks against Attak Pik models across multiple guitars and setups. We asked him what he found.
How unique are the Attak and Ambush picks from a sound wave standpoint?
"In analyzing the recorded files, I have to say it's a pretty interesting phenomenon. The picks actually brighten up guitars without the player having to go to an equalizer on their amp. It's pretty cool."
— Jason Mariani, Grammy-winning engineerWas it surprising that nobody had patented picks like this before?
Oh yeah, I would've thought that someone had done it before. When Mark and Mike explained the concept to me, that was one of my first thoughts.
You've worked with some of the best guitarists in the world — Bonamassa, Robben Ford, Kenny Loggins. Did that context make the difference more or less noticeable?
Working with guys like Robben Ford, Kenny Loggins, and Joe Bonamassa, it's easy to develop an appreciation for the guitar. And to hear the difference the Attak Piks make.
What impressed you most about them?
"The picks' ridges are such a straightforward and simple idea that nobody else had ever thought of it. That's something we all strive for."
— Jason MarianiBlind audio comparisons recorded during the Attak Pik R&D process — multiple models, multiple guitars, same player, same amp. The Attak and Ambush were the primary models evaluated. His finding: measurable tonal brightening without any EQ adjustment.
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