Need For Angel Investors In Entertainment

Angel investors in entertainment are pretty common these days. Let's be honest, who doesn't like some good old entertainment and angel investors are no different from the rest of us. Except for the fact that they are quite unimaginably wealthy! They too have their tastes in music and if one can get hold of their patronage, then there is no limit to how high their company will fly!
Investment Needs
If you are starting an entertainment business of your own, you will definitely need funding because the entertainment business is a business which has a great many requirements:

• A great office - appearances matter a great deal in the entertainment business and we all know that.
• A capable task force - PR is the byword of the entertainment industry.
• Good sound system - preferably Bose, and we all know how expensive that can be.
• Great food - one must woo all potential clients and investors well.

And a host of other needs, depending on which branch of entertainment you decide to venture into. Quite frankly, setting up an entertainment business requires more capital than setting up businesses of any other kind and angel investors in entertainment are very necessary.
Wanted: Angel!
So where do you find angel investors in entertainment? Where can you look? After all nothing comes easy in this world and neither will funding for your business. The best way to look for angel investors is through networking. Ask around, set all your personal contacts on the lookout for investors for your business, you never know where you may happen across an investor.
Ask people if they are acquainted with anyone who they know will be willing to invest in your business. If you don't have any luck in looking for an investor in this manner, what you need to do is visit your local chamber of commerce, job seekers, service providers or even advisory boards.
You can build new contacts in this way and you'll be able to find your angel investor soon enough. If you're lucky, you might come across large groups of investors who will be willing to put in a whole lot of capital into your business.
An angel investor is someone who does not require a high return on their investment. They have lower rates of interest and one is allowed the freedom to return their money over a longer period of time. This is probably why they are called angel investors.
Nowadays the challenge does not lie in merely seeking out investors in entertainment. Nowadays, what a resourceful entrepreneur will do is look for investors in their area who will provide a high investment amount and also a large and expansive list of contacts along with advice which only comes from many years of being in the industry.
That is what the business of entertainment is all about these days, after all the competition, especially in this field is getting stiffer and stiffer. Finding angel investors in entertainment may just be the step that will take your business to the next level.

Electro-Acoustic Guitars

Electro-acoustic guitars work acoustically in exactly the same way as a standard acoustic guitar, meaning the main factors in their individual sound will be the size, shape and material of the body and neck. They are constructed with the same basic materials that all models use: wood, steel and very occasionally composite materials. It depends on the manufacturer and brand, but the same basic shape and production methods are used to put these finely crafted pieces together. Electro-acoustic guitars are the ideal choice for gigging musicians who want the sound of an acoustic guitar but need it to be amplified. Body shapes can be much like standard acoustic guitars, such as the box-like dreadnought, or jumbo, whilst other models such as the famous Yamaha APX or Ibanez AEG series use a smaller, thinner body, giving a feel a little more like an electric guitar. One of the leading guitarists of our time, Glen Campbell, was heavily involved with the Ovation guitar company, one of the originators of electro-acoustic guitars. Ovations models were slightly different from most others in that the back of the guitar was bowl shaped, apparently to help scoop the sound of the instrument forwards. These instruments were a huge success and Ovation are still a major brand in today's market.
The Main Advangtage of an electro-acoustic guitar is the adaptability in its preamp and the pickup which feeds it. These pickups take a few major forms.
The earliest models used a magnetic pick up in the soundhole or at the neck joint of an acoustic guitar. These pickups were essentially very similar to an electric guitars pickup. This lead to feedback problems and diminished sound quality because the complex overtones produced could not be adequately handled by such a simple device. Revised magnetic pickups are still available in single coil and humbucking forms. These more modern alternatives suffer less with feedback issues and are still the choice of many players including David Gilmour of Pink Floyd fame.
The most common pickup in low and mid price guitars however tends to be the piezo pickup. This is a form of what is known as transducer. This has been a popular way to amplify an acoustic since the technology's inception as it has one major advantage. A transducer works through vibrations in the top, meaning no feedback problems which are so prevalent when putting a mic in front of a standard acoustic. To this end, they are often fitted under the bridge saddle, where the vibration is at its strongest. This also hides the pickup effectively and allows for easy placement of a jack socket. Other transducers can fit underneath the soundboard, allowing for more changeable placement. This gives a greater choice in picking the various inherent tonal characteristics of the guitar to emphasise or play down as wanted.
It is also becoming popular to use a system comprising two or three separate pickups, either of differing types or in different areas of the guitars body to emphasise different tonal aspects. This has become more popular still as players like Preston Reed, Eric Roche and Andy Mckee have further popularised using the acoustic guitar percussively as part of a piece of music by tapping the guitar in various places. A transducer allows a pickup to be placed in or near the area to be hit. Picking the sound up clearly and consistently.
Of course with a system of more than one pickup, the pre amp fitted to the guitar will become even more important and will often give you the luxury of a full onboard EQ as well as a volume control or controls for the pickup/s in the guitar. EQ controls on an acoustic are designed primarily to stomp out feedback and give the player more control over their tone. For this reason, on a mid range guitar you will often find a "parametric" equalizer, meaning you can find a troublesome frequency and reduce it. This means you can find whereabouts the feedback is coming from and eliminate that particular frequency. This also means you can boost a particular frequency which may be helping your sound to cut through on stage.
Many Pre amps nowadays feature inbuilt tuners, allowing for silent onstage tuning under any light. These normally feature a small display and all the same features you would expect from a floor based tuner without the need to take an extra unit on stage.
A further positive is the straight connection into the console, which eliminates the need for a noise free studio or expensive microphone in which to pick up the signals clearly. This makes it an ideal solution for a home recording hobbyist through to a serious stage musician, and also makes getting a great sound much simpler for those who may not be too knowledgeable when it some to which mic etc will fit the bill best.
In order to make the electro-acoustic a usable tool for home practice there are a range of amps available specifically for the purpose, many featuring microphone inputs alongside those for guitars. This provides an all in one solution for singer/guitarists playing small gigs and practicing or may work as the guitarists monitor while the main sound is carried through the P.A speakers to the crowd.

Larry Mullen's Band?

The group U2 has its history like any band. From meager beginnings in Dublin, Ireland, to worldwide fame and stardom. If you know anything about U2, you know that charismatic lead singer, Bono, has been the focal point of the group. With his energetic and stirring live performances to his many charitable causes, when you hear U2, you probably think of him first off. Guitarist, the Edge, with his inexplicable sound and style has also been a focal point in the band. But, has it ever occurred to you, that if not for drummer Larry Mullen's desire to begin a band, U2 might have never formed.
Larry Mullen Jr. was born on Halloween in 1961 in Artane, on the north-side of Dublin. Born with the original name, Larry Mullen, he added the Jr. later to distinguish himself from his father, Larry Mullen Sr. Larry Jr.'s musical career began when he was 8 yrs-old with piano lessons. Soon, however, the lad got bored with studying piano scales and music theory, so in 1971, he took up drumming instead. Larry was able to take classes under the tutelage of Joe Bonnie, Ireland's best known drummer. Just a year later, though, Bonnie passed away and his daughter, Monica took over the lessons. Larry has always felt that his style was 'unteachable'. He would rather play by instinct and spirit, saying that 'sometimes he just wanted to hit it'. In '73, sister, Cecelia, bought Larry his first drum kit. All this led to the day on September 25, 1976 he would post the note on Mt. Temple's bulletin board, calling for fellow musicians to come to his home to audition for a band. The auditions took place in Larry's kitchen. The original lineup for the group was as follows, Bono-Vox on vocals, David Evans, (the Edge), and his brother Dick on guitar, Adam Clayton on bass, and, of course, Larry Mullen Jr. on drums. Larry claims that the bands' real name is actually, 'The Larry Mullen Band'.
But dark clouds loomed on the horizon. Mother, Maureen Mullen, died tragically in a road-traffic accident in 1978. Her death affected Larry a great deal. But it was also a driving force in his growing committment to U2, which was in question by his bandmates, because of his absentee's at gigs and photo-shoots. Often, forcing the other band members to get a stand-in look-alike for the drummer. Larry had quit school and was working while U2 was trying to score a record deal. This was why there was trouble with his and the groups schedules. But the loss of his mother would catapult him towards the band.
He has been with his partner, Ann Acheson for almost 30 years. The two met at Mount Temple, Larry's first year there. Together, they have two sons and a daughter. He is also an avid dog lover. The family has two labradors. He is very protective of his family when it comes to being in the limelite, and had done a successful job keeping his private life, just that. One strange thing though. Larry, has had tendonitus and back pain for years. He has seen many doctors for these problems, but none had the answer for the pain. Then, he saw a doctor in Germany, who practiced holistic medicine. This doctor began giving him injections of bull's blood... and it works, he says!
Larry has worked on many side projects with artist like, B.B. King, Robbie Robertson, and Emmylou Harris. He has won 22 Grammy awards and a Golden Globe. He also worked on one of the Mission Impossible soundtracks.
The drummer digs his Harley Davidsons', which he has clocked over 10,000 miles while driving from gig to gig. He loves the King...the King of rock n roll, Elvis Pressley, (for younger readers). Larry Mullen, a 15 year-old kid who posted a note on a bulletin board and made music history. Now a multi- award winning artist and critical success. I think he made the right move.

Are Cover Bands A Good Thing?

When going out for a night on the town with your friends, you may be inclined to choose a bar or pub that offers live music alongside your order. Many bars, pubs and clubs feature cover bands. Some of these cover bands actually sound pretty good. Still, it's important to realize that their main purpose is to attract more clients and bring in more cash to the owners. And why not, you may ask yourself; after all, live music has many perks: it improves the ambience of a place and allows people to dance and sing to their favorite tunes. But at what costs?
Some obvious drawbacks of cover bands are: the amount of noise they make, which prevents some people from having proper conversations; their set lists which appeal to some people but not others; and let's not forget that some cover bands simply don't do justice to the original classics we all know and love. Still, these are drawbacks that most people can live with. The biggest problem of cover bands is that their existence in such great numbers prevents many otherwise talented musicians from expressing themselves creatively. That's quite the overstatement, some people might argue. Alright then, let's take a look at the state of the music industry today: major labels are going downhill as more and more artists realize that it's easier to release music independently; independent music doesn't have enough support to reach a wide audience; hits released by emerging stars (usually still with the support of major labels) are too polished and predictable and don't seem to have enough "staying power" in radio tops and on MTV, and last but not least the acts still capable of filling arenas and stadiums are getting old. Clearly the music industry needs the new generation to step in and take the reins from the old dinosaurs, as it's been done before. The problem is that large numbers of young musicians sit around in bars, pubs and clubs and play covers for money instead of writing hooks - and they'll say it's for good reason: insufficient support to become big acts like the Rolling Stones, Led Zeppelin or Aerosmith, even though they might have the chops to do it.
If a band makes the unlikely attempt to play an original song in a pub, the owner probably won't like it for a multitude of reasons: his clients won't know the tune; they won't sing and dance; they won't have a good time; finally, they'll run off next door where another band is playing "Satisfaction". By the time a cover band builds enough negotiation power with the owner, it will run into the next big problem: it will always be looked at as a cover band, so bye-bye successful career!
The solution to this vicious cycle is quite difficult to put into practice: it starts off with bands writing music for creative rather than financial reasons, and club owners encouraging and even helping them promote original material; in time, patrons would get used to appreciating music they may not have heard before and differentiating between more and less capable acts, instead of expecting a cover band to come onstage and play recycled music for hours at a time. As always, the problem is that everyone, from club owners to band members, cares more about money than music.

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