Saturday 26 October 2013

How to Start an Open Mic by Carl Chamberlain

I lifted this from Carl Chamberlain's Facebook notes so that others could read its good advice.  It's from a man who knows pretty much everything there is to know about running a decent open mic.

"A friend asked me for info with regards starting an open mic night, this is what I sent him,
OPEN MICS
Research: Go to other open mics, if you perform, go as a performer, if not, talk to performers, find out what their favorite things are about the open mics they attend. Take notes, contact details, try and get a list of performers before you start.
Things I know:
The management have to want it and know that it is not a profit making enterprise, some nights will be full and profitable, some nights will be empty.
Even the best nights have quiet periods, sometimes for weeks.
Make sure you know what the management want: If they are expecting you to bring a crowd, maybe you should think about another venue.
They may want to hear fantastic music and many nights they will but the only way this can be guaranteed will cost them lots of money as you will be doing a showcase night.
Performers love reward, whether that is food or drink is up to the Management, lots of great open mics offer nothing though and this is not imperative, it is a choice.
It will give performers a sense of respect.
It will bring some people who are only there for the free stuff, they are called free-loaders. There are some who will only come because there is free stuff, these people are called musicians, poets, story-tellers and artistes.
Many will come because of the sound.
Sound is the most important thing to performers, a good sound will beat a good crowd…8 times out of 10, some will never return if the sound is bad.
Better to have a totally acoustic night than use shit pa/equipment.
Advertising your night: Use every avenue.
Make it clear the open mic is happening at the venue before you start.
The regulars need warning, even if they are positive about it, regulars don’t like change until after it has happened. Sudden change will get there backs up.
The regulars are the second most important thing after the management and staff.
For you, the host/compere, the most important thing is the comfort of the performers. The space, the sound, how long they get. Letting them know when they are due to perform, even if the list is visible, by keeping them informed is imperative, I find that telling the person who is due to perform, they are on ‘next’ before the person who is on has started means they can tune up, get a drink, go to the bathroom, have a ciggie, (remind them to tune up, they are nervous and might be used to doing it on stage, try to cut that out of your night if you can, it may not be possible due the venue) do all this by being proactive and positive.
If you have been an audience member and now a host, it is very different. You will rarely get the chance to fully enjoy the night because you are a part of it.
If you are a performer and now a host, don’t use it as a chance to showcase your talent, by all means play, perhaps begin the night, but remember it is an OPEN mic and your guests are more important than you.
When it is over, your joy will be overwhelming, there will be a smile in your heart.
If you are a sound engineer or have one your life will be a lot easier, however they can cost money, some will work for drink or food, some for the love of music or you.
Pay for one if you can, make sure they are willing to teach you so you can cover them if they are ill, having a fag, etc…
A lot of open mics have a continuous stream of performers on stage one after the other. This is cool, this is what open mics are about, the continuing supply of entertainment, music, poetry, comedy.
However, I always have a break between performers by playing recorded music: As a punter, I always want to chat with performers after they come off, to congratulate them, get their details, buy them a drink…as a respectful audience member I won’t talk while another act is on, sometimes missing out on the chance of a flirt, sorry fb/soundcloud/youtube detail.
Tell the audience that this is their chance to go to the bar, talk loudly, meet a stranger, get details from the performer coming off.
I find the chance for audience members to chat at normal levels means I can ask them to be quiet again/grab their attention without it being annoying.
Again, don’t get me wrong, the power of continuation means the vibe can reach a superb level of joy.
The host is the kingpin of the night, your management of the night, ability to make people feel at ease, being professional, honest and fair will allow forgiveness if things go awry.
The atmosphere will depend on you, the success will depend on you, if you are trusted, everyone will support you.
Introduce performers to each other, they are there to network, make it easy.
THE LIST: Decide early how the list will work: Can people book a slot? Is it first come/first served? Are you going to have a ‘showcase’ slot? How many songs/time are you allowing? (3 songs is my favourite)
Be professional, don’t drink until the list is full or the night has started, you will be nervous, things will go wrong. You may need to perform/fill time on stage.
If you’re drunk you may be too honest and diplomacy is one of the keywords.
Respect is another.
Some people will be beginners, encourage them.
Some people will be experienced, listen to them.
Some people will be shite, applaud their bravery.
Some people will be amazing, treat them the same as everyone else.
Successful open mics depend on regularity, sound, atmosphere, host, management support, regulars support, friendliness and luck.
To add to this, if you do have a pa, you may need 2 vocal mics 1 condenser mic that doesn’t need phantom power + 3 mic leads and stands, 2 guitar leads, 2 DI boxes, if possible a stage monitor.
To add to this, you will need to love music/performance and remember the hours/weeks/sometimes months/years of practice the performers have put in and show your respect for that."

Carl Chamberlain January 2013

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