GG_The_Fly said:
There's no way edge's picks should be #1 - that is absolutely the LEAST important thing in his arsenal - you need great vintage guitars, great vintage stompboxes (e.g., delay and distortion) and great vintage amps. . .
Actually, the picks are a HUGE part of his sound. Along with the modulated delay, they're one of the most important things.
Here's why:
Herdim picks are dimpled on both sides, along the grip portion. Edge has, almost since he started playing, played with the dimpled part, rather than the point of the pick. The result is that the little dimples produce a unique sound on the strings. That really brittle, crisp sound - the CHING sound? - that you hear on the arpeggiated notes? That's the pick on an upstroke.
It's gotten to the point where I treat the edges of my picks with a pocket knife, so they're very mildly serrated. It produces an amazingly Edge-like tone.
It's not the pick, per se, it's the way that particular pick is used, that produces a very key, but often overlooked, part of the sound.
EDIT: For a good example of the Herdim effect, listen to the chiming notes in Bad. You can hear a slight bite on the first of the notes (the second is a delayed repeat). That's an upstroke of the pick, with the dimples pulling on the string a little more than the relatively smooth edge of a normal pick.