Where can I get unique bulk guitar picks for cheap?
I am going to use them to spell out “sadie?” on a canvas board and I need about 100-200 picks and I want them to be unique, but I don’t want to spend a lot. Does anyone know some good places? I’ve looked all over. . . Thanks. (Unique-I mean them to have some hello kitty, or aliens, or jesus. . . just really random things that’ll make him laugh.)
invest in a shrinky-dinks machine
Bulk and Skull Song 1 Guitar Playthrough
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The Acoustic Guitar of Jorma Kaukonen: Blues, Rags & Originals Video One [VHS] $24.95 Jorma Kaukonen’s first musical influences were the fingerpicking blues of Blind Blake, Rev. Gary Davis, Big Bill Broonzy and other traditional players. From those inspirations, he built the acoustic guitar style that has made him a top guitarist and a legendary figure in the pop music world. Homespun Video is proud to present this insightful video lesson. Jorma breaks down his fingerpicking style… |
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Classic Blues Guitar [VHS] $10.00 … |
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Guitar Basics, Step 2: For Electric Guitar (The Ultimate Beginner Series) $6.50 On Guitar Basics, Step Two, for Electric Guitar you’ll learn how to play the most popular chords and basic strumming techniques, how to develop a clean, accurate picking technique, how to begin improvising, how to play in any key using barre chords, special electric guitar techniques and much more. (40 min.)… |
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Velcro Reusable Self-Gripping Cable Ties, 0.5 Inches x 8 Inches Long, Black, 100 Ties per Pack (91140) $3.79 Ties, Reusable, Adustable, Pre-cut, 8, 100 Count, Black Velcro 91140 Reusable Self-Gripping Cable Ties 1/2 x 8 Long Black 100 Ties per Pack… |
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Hosa 3 Gaffers Tape $17.99 Sticks tight peels off easily and leaves no gummy residueEasy to tear60 yards… |
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Lehigh Group/Crawford #SH13-25 Screw In Tool Hanger $1.16 Screw in tool hanger Hang sledge hammer or gas powered lawn trimmer For use in garage, basement or shed Holds up to 50 lb Super protective coating to protect valuable items Mounting surface should be solid wood at least 1″ thick and strong enough to hold intended weight… |
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Girl’s Guitar Method Complete Book & DVD $14.58 GIRLS GUITAR METHOD COMPLETED – DVD Movie… |
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DURACELL 9 Volt PROCELL Professional Alkaline Battery, Pack of 12 $14.39 Duracell ProCell alkaline batteries…. |
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D’Addario EJ45 Humididpack Classical Guitar Strings $0.01 … |
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Ultralife 9V Lithium Battery U9VL-J Aluminum Housing $2.25 Ultralife lithium batteries last up to four times longer than any alkaline 9V brand…. |
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Guitar $10 Guitar |
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Ramblok Bulk $19 Download the Ramblok Bulk font for Mac or Windows in OpenType, TrueType or PostScript format. |
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Maca, Organic, Bulk, 10Kg $226.85 Maca BULK 10KG |
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ZAGGskins (Guitar) $19.99 ZAGGskins (Guitar) |
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H2O BLOODWORMS BULK CUBES 1LB $9.12 H2O BLOODWORMS BULK CUBES 1LB |
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SEA VEGGIE CLIP BULK 24PC $44.59 SEA VEGGIE CLIP BULK 24PC |
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Hikari gold 11lb bulk medium $98.43 Hikari gold 11lb bulk medium |
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Hikari gold 22lb bulk medium $181.87 Hikari gold 22lb bulk medium |
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Psychedelic Guitar $10 Psychedelic Guitar |
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Guitar Hero $10 Guitar Hero |
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Insane Guitar $10 Insane Guitar |
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Distorted Guitar $10 Distorted Guitar |
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Guitar Music $10 Guitar Music |
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Guitar On Fire $10 Guitar On Fire |
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Heavenly Guitar $10 Heavenly Guitar |
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Guitar Tuning $10 Guitar Tuning |
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Fire guitar $10 Fire guitar |
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20th Century Masters – The Millennium Collection: The Best of the Reverend Horton Heat $9.99 The Reverend Horton Heat (the collective name for Jim Heath on guitar and vocals, bassist Jimbo Wallace, and either Taz Bentley or Scott Churilla behind the drums) cut three fine albums for Sub Pop Records between 1992 and 1994, and a pair of so-so records for Interscope in 1996 and 1998. The bad news is, 20th Century Masters — The Millennium Collection features 14 tunes from Heath and Company’s Interscope period, with one track from their final Sub Pop album (originally distributed by Interscope) included for seasoning. As you might expect, this is a far-from-definitive Reverend Horton Heat compilation, though in all fairness this disc is a better buy than either It’s Martini Time or Space Heater, the below par albums which generated the bulk of the material here, since the best cuts from both albums make it onto this set (which was compiled by Heath himself). The remastering for this set sounds great. Heath lays out all sorts of frantic overdriven guitar leads throughout, and “That’s Showbiz” is a hilarious tongue-in-cheek look at the downside of the musician’s life, but the first three Reverend Horton Heat albums had the best songs, and the band always rocked harder with Taz on the drum kit, which makes this disc a fine look at a band’s lesser days, and that’s about all. ~ Mark Deming, Rovi |
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50th Birthday Celebration, Vol. 4 $16.98 At long last, John Zorn’s Electric Masada project gets a release of its own. Recorded during his 50th birthday celebration in September of 2003, the set delivers everything you would expect from an Electric Masada show: great tunes, blistering solos from everyone concerned, and a slightly rocked-up atmosphere. The band does not disappoint; there seems to have been a real air of excitement surrounding the whole 50th birthday series, at least judging from the performances that had been released to this point. The bulk of the soloing belongs to Zorn on alto, Marc Ribot on guitar, and Jamie Saft on Rhodes, with Ikue Mori’s laptop contributing interesting colors and tones, with sounds that range from what sounds like a babbling child to shards of broken glass. The double drums with percussion of Kenny Wollesen, Joey Baron, and Cyro Baptista come up with some wild rhythms, especially during Ribot’s solo on “Tekufah.” “Idalah-Abal” really rocks things up, and “Hath-Arob” gets even crazier, sounding like a Cobra-esque conduction. “Yatzar” and “Kisofim” are on the mellow side, but no less exciting musically. Several of the tunes stretch out to near epic lengths, giving the players plenty of room to play, with Zorn leading the way and calling the shots. This is a fantastic ensemble, with lots of time spent playing together, and Zorn knows how get the best out of them. Fans of the Masada series will not be disappointed. Excellent. ~ Sean Westergaard, Rovi |
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Age of Winters $12.98 Coming to grips with the Sword’s unlikely genesis in the alternative music Mecca of Austin, TX, leads one to wonder whether heavy metal has finally become hip again. Depending on your generation, nothing will seem as simultaneously preposterous (Gen-X’ers who came of age during pop-metal’s heyday and don’t recognize it as an unrepresentative anomaly) or obvious (everyone else) when discussing a genre that’s spent the bulk of its 35-year history on the absolute fringe of rock culture. If that isn’t “alternative,” well, what is? In any case, glorifying heavy metal’s prototypical qualities is exactly what the Sword is all about, and their 2006 debut, Age of Winters, sees them joining California’s High on Fire, Sweden’s Witchcraft, and Australia’s Wolfmother (to name but a few) at the forefront of what’s gradually become known in the mid-’00s as the “heritage” or “retro-metal” movement. No, not stoner rock — that’s sooo ten years earlier! The only thing the Sword and their ilk have in common with most ’90s stoner rockers is recognizing that all heavy metal empires are sprung from the Black Sabbath cornerstone, and the token signs can be readily heard in these songs’ ominous doom chords (just listen to opener “Celestial Crown” and “Lament for the Aurochs”), pummeling, down-picked staccato riff-runs (“Barael’s Blade,” “Ebethron”), lyrics about fantasy and legend (“Freya,” “The Horned Goddess,” etc.), and, finally, those borderline-inadequate, zombie vocals first made acceptable by Ozzy himself. The Sword’s singer, JD Cronise, is certainly guilty of the latter, but then that only helps to focus one’s attention upon the album’s main attraction: its megalithic guitar work. For the record, the Sword spins the evolutionary clock as far forward as ’80s thrash, on occasion, resulting in colossal, galloping onslaughts such as “Winter’s Wolves” (complete with howling wolves, naturally) and “Iron Swan” (prefaced by delicate melodies of a medieval feel). Ye… |
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Fairytales $36.98 After winning the 2009 Eurovision Song Contest, Alexander Rybak was naturally a sensation throughout Europe and scored a big hit with his debut album, Fairytales, titled after the prize-winning song. It’s a light album, with less than ten songs and a running time under 40 minutes (not counting bonus material), but this initial showcase of recording material shows promise and should please Rybak fans who enjoy “Fairytale.” Like that song, the bulk of the album is written by the 22-year-old violinist, who thoroughly demonstrates not only his songwriting talent but also his talents for musical composition and English-language vocals. Part of the appeal of Rybak, of course, involves his back-story. Recounted many times, the story begins in 1987, when he was born in Minsk to musically inclined parents, the father a classical violinist, the mother a classical pianist. At four years old, Rybak and his family moved from Minsk, then part of the Soviet Union, to Norway. He began playing piano at the age of five and began studies at the Barratt Due Institute of Music in Oslo at the age of ten. A little over ten years later he made Eurovision history when, as the representative of Norway, he garnered 387 points, the highest tally ever. In the wake of his history-making Eurovision win, Rybak began working with a few different producers and came up with the nine songs comprising Fairytales. The title track, with its memorable violin refrain, was a chart-topping smash hit in a half-dozen countries across Europe. The follow-up singles “Funny Little World” and “Roll with the Wind” were less successful but stand out as album highlights all the same. “Funny Little World” addresses Rybak’s newfound fame with a sunny set of lyrics, and the song is almost entirely free of violin, driven instead by acoustic guitar and a light drum track. On the other hand, violin figures prominently in “Roll with the Wind,” the lively album opener with a Celtic air, one of only two songs not … |
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Music from the Transfomers Trilogy $16.98 Silva Screen Records here presents newly recorded cues from composer Steve Jablonsky’s scores for the films Transformers, Transformers: Revenge of the Fallen, and Transformers: Dark of the Moon. Usually the label, which specializes in such re-creations, employs the City of Prague Philharmonic Orchestra, and that ensemble does contribute a couple of tracks here, notably “Prime/I Rise, You Fall” from the second film. But the bulk of the music is performed by an entity called London Music Works, which consists primarily of synthesizer programmer Steve Mazzaro. Given that the movies feature heavy use of computer-generated visual effects, it may seem appropriate to use synthesizers to play the music. But Jablonsky’s scores actually have big, orchestra-like qualities that might have been better suited to the Prague. In keeping with director Michael Bay’s gigantic visual scope, Jablonsky lends weight to the science fiction stories, inspired by a children’s toy that also was the basis of a TV cartoon, by coming up with majestic, anthem-like themes, starting with the first cue, “Autobots.” Bay’s love of the military is reflected in “The All Spark,” a martial piece featuring Pavel Belousek’s cello solo. When Jablonsky got to the second film, he turned to more of an electronic rock feel, notably on “Nest,” which incorporates an excerpt from “New Divide” by the hard rock band Linkin Park. “Dark Side of the Moon,” from the third film, meanwhile, allows Rick Clark (also credited for additional programming) to break out his heavy metal guitar. But much of the time, the music is dominated by Jablonsky’s big themes, which often have a wistful quality (especially “Tomb of the Primes”), and are sometimes led by the wordless vocals of Francesca Genco and Tara Clark. Like Bay, he takes the stories seriously, giving them more gravitas than they might seem to have otherwise. [The digital release of the album contains an extra track, “Prelude (Trailer Music),” from the s… |
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Selected Compositions 1999-2008 of Vijay Iyer: Traditional Style Fiddle Sets with Guitar Tablature $21.17 New – Vijay Iyer is one of the most significant contemporary composers and performers on the piano. This manuscript represents a compilation of small group compositions by Iyer during a period from 1999 through 2008. The bulk of the pieces were originally written for Vijay’s quartet with altoist Rudresh Mahanthappa, bassist Stephan Crump, and drummers Marcus Gilmore, Tyshawn Sorey, and Derrek Phillips, and documented on the albums Panoptic Modes (2001), Blood Sutra (2003), Reimagining (2005), an |
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Selected Compositions 1999-2008 of Vijay Iyer: Traditional Style Fiddle Sets with Guitar Tablature $19.72 New – Vijay Iyer is one of the most significant contemporary composers and performers on the piano. This manuscript represents a compilation of small group compositions by Iyer during a period from 1999 through 2008. The bulk of the pieces were originally written for Vijay’s quartet with altoist Rudresh Mahanthappa, bassist Stephan Crump, and drummers Marcus Gilmore, Tyshawn Sorey, and Derrek Phillips, and documented on the albums Panoptic Modes (2001), Blood Sutra (2003), Reimagining (2005), an |
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Selected Compositions 1999-2008 of Vijay Iyer: Traditional Style Fiddle Sets with Guitar Tablature $19.72 Used – Vijay Iyer is one of the most significant contemporary composers and performers on the piano. This manuscript represents a compilation of small group compositions by Iyer during a period from 1999 through 2008. The bulk of the pieces were originally written for Vijay’s quartet with altoist Rudresh Mahanthappa, bassist Stephan Crump, and drummers Marcus Gilmore, Tyshawn Sorey, and Derrek Phillips, and documented on the albums Panoptic Modes (2001), Blood Sutra (2003), Reimagining (2005), a |