I’ve mentioned this a few times in various threads but there’s actual footage of it right here on the site. You can find several examples of this in the Steve Morse crosspicking analysis videos. Edit: around the 2:00 mark:
https://troygrady.com/interviews/steve-morse/analysis-chapter-9-in-practice/
I have no way of knowing if this is similar to what I used to do back in the day, but I’m going to guess it’s probably in the ballpark.
Great playing as usual Troy!
However, your right hand posture for the Tumeni Notes crosspicking looks a bit “awkward” compared to your standard setup (which instead looks very comfortable). A bunch of questions out of curiosity:
Thanks!
I used to play this way years ago, then switched away in college and never thought about it again. Then, a couple years back, when we were doing the Steve Morse stuff, I was just standing in the studio one day, experimenting with various ways of playing one-note-per-string arpeggio patterns, and I started doing this.
It was totally spontaneous and not planned. It was immediately obvious that something was working because it was super fast and effortless, just sloppy. In accordance with my “do more of what is working” methodology for self-teaching unknown movements, I switched to only that method for a week or two. Over that time period it started to clean up significantly. Since that method worked better than any of the others I was experimenting with, I ended up filming the feature that way. Then I stopped using it and moved on to other things.
Thus ends my trailing edge picking story!
I don’t have a guitar in front of me but I can switch between this if I have to. It’s not a technique I plan on using so I haven’t worked on that, but if you told I had to get really good at switching between this and other techniques, sure. It would be roughly similar to EVH switching between his tremolo technique and his other techniques.
It’s pretty comfortable.
I don’t know. But in general trailing edge always feels a little to me like the pick is going to fly away - with this grip anyway. We added a little animation in the original Cracking the Code series about this.
No, completely spontaneous. Over the past three or four years I’ve begun to think that the ability to generate new ways of doing things, unprompted, is actually a critical self-teaching skill. If you’re starting from zero, meaning you have absolutely no idea how something is played, and all you know is that it is possible, then that is when this skill is most critical. However, even if you have a visual reference, or good teaching, there is probably still some element of this involved in learning.
A teacher can only show you so much. One of our videos can only show you so much. We may be able to help eliminate the majority of the uncertainty by showing you where to place your hands on the guitar, and how to move. Hopefully the best teaching can eliminate so much of the uncertainty, that only a very small amount of trial and error is left over. But even in such a case, there may still be very small adjustments, at a level that is hard to see on camera, that we can’t show you, but influence the feel of things. So even in the “good teaching” scenario, the ability to make small changes, somewhat intentionally, is probably a type of motor learning skill that makes learning faster / easier. That’s my guess anyway.
It sucks being a Obsessive Compulsive Perfectionist. Because I obsess about micro movement adjustments and nothing is ever good enough. lmao. I don’t like all the options.
Just a quick note to say thanks to everyone for replying. I’m on my phone at the moment so will post a more detailed reply with some thoughts later.
@Troy, once again, thanks for your posts.
Just wondering, in the video you linked to, you seem to be using a trailing edge technique, whereby Steve Morse does not - at least to my eyes.
Am I missing something in Steve’s playing with regards to trailing edge picking, or did you just use trailing edge picking when playing Tumeni Notes as it’s the most comfortable way for you to reach the required speed?
Nope, just as I explained above - this is just a thing that happened.
However I am using a fairly supinated forearm approach, which is similar to what Steve does, just that I’m using a little rotation whereas Steve does not.
Hello sir, fellow trailing edge picker here 
Btw, hello everyone, this is my first post here, I hope to learn something new here and maybe share some of my insight.
Back to the topic. For me personally it is impossible to play with the leading edge. It hurts my index finger when I hold the pick that way. In my own experience, it doesn’t make any difference in speed, accuracy etc. We all tend to find (unconsciously) the most comfortable position to hold the pick or anchor the picking hand. It does feel like the pick will fly away, but for me it’s the only way to do it. And if it does fly away, don’t bother looking. They just disappear into another dimension.
If I’m not mistaken Neal Schon also holds the pick this way.
@jalopy_joe I made a thread about my trailing edge picking on bass:
I haven’t done it on guitar in forever, but I wouldn’t mind experimenting with it again for certain things!
yes, you are correct, Neal does indeed hold his pick this way. Bruce Bouillet does too.
There’s just something about the trailing edge, the tone is much warmer somehow. Idk, maybe it’s just me… In regards to the bass, yeah I do it too, there is just too much scratching noise with the leading edge, and as we know it, noise on the bass guitar should be reduced to a minimum.
I think it’s a softer attack, which I think is why I abandoned it on guitar.
I posted that before about a guitarist that originally showed me trailing edge. He’s one of the only players I can think of that switches between the two to change the sound.
Looks like Vernon Reid is a trailing edge picker.
I’m a trailing edge player but my pickslant is upward, not downward like Benson.
I spent a few years working on “Benson picking” but didn’t get the results I wanted so I put it aside. Now I’m back to trailing edge and there’s some similarity but I’m not trying to do that specifically===I’m just trying to fine tune what works best for me. 
I switch back and forth. I remember doing both when I was a kid.
What a wonderful performance! He’s also a self-proclaimed “plectrum fetishist.”
(This is off-topic, but his rig is pure insanity, see this Rig Rundown.)
This is the first time I’ve noticed that Living Colour used the British spelling for “Colour”. Though Vernon Reid was raised in New York, he was born in England and deliberately chose to use the British spelling in the band name. I’m only about 35 years late to the party on this.
I have switched back to leading edge picking. Switched to a pronated forearm and a more conventional grip. The trailing edge grip FEELS the most secure to me, but with practice, the other way should prove just as fast plus it works better for a lot of simple riff and rhythm playing.
Trailing edge-er here…