and over-manufactured. Ultimately what you want is to get the sound across rather than to rely on the technology to do it all. “To select the songs for the finished album, you usually record more material than you would use. Some of the songs may not fit the song sequence and feel of the album.” The fine tuning of the recording, known as the “mix,” is the next step. To ensure a group such as the E Street Band doesn’t sound like the West Side Garage, features such as sound separation take place here. As the final sound for the band, the mix is important. It is usually done by the artist and engineer in the studio. “There are people who specialize in mixing all over the country. Again, as an independent you’re working on a shoestring, which means making do,” Bob emphasized. “The sky’s the limit when you discuss technical features, but it comes down to what you can afford. It involves different ways to enhance the sound.” When the mix of the Wipers’ recording was finished, it was taken to a factory for mastering. To transfer the one-quarter-inch tape to record, it was first made into an acetate. After the grooves were cut into the acetate, it was metal plated. Several metal plates were then made from the original to stamp the record out. “ It’s a critical process because what you want to do is transfer the sound as accurately as possible onto the acetate. You don’t want to lose anything. Any pops or clicks will come out at this point. It’s examined under a microscope to make sure there’s no flaws. Test pressings come from the metal plates. If you decide they came off okay, you go ahead with manufacturing the record. “Artwork and graphics are brought to the manufacturer. You can do artwork yourself or hire a graphic designer. In the Wipers’ case, Mike King did the graphic design. Usually an independent will have artwork in mind so the artist’s record will come out exactly as you depict it,” Bob said. When I asked Bob how he decides how many records to order, he said the initial amount of records manufactured isn’t a major decision because one can always reorder according to the market demand. Getting the record in the stores will make it or break it for a group on an independent label. For Bob, who sells records on a regular basis, the process is a spinoff of his normal business operations. To keep the label afloat and get the music to the public, Bob outlined the procedures of distribution, cash flow, market decisions, promotion, and paperwork. “The first market decision you want to make is, ‘am I distributing this to a local audience or something nationally or worldwide?’ Distribution is the key, and there are various ways to do it. “For my own label I’m using a combination of two systems: I have my ■ ... Parasites are all relatively unknown, but was Gene Vincent a household word when Neil Sedaka sang .. 1 a b t ^ ^ ^ * * ' Calendar Girl”? own distribution system through the stores I work with around the country, and I’m exploring other distribution, such as majors. There are distributors set up who cater to independent labels. You depend on distributors to make it available. i “First of all, you have to have a record the distributors are interested in handling. Most of the trouble for ’ independents is getting paid by distributors. When you’re a smaller operation; you’re depending on cash flow for future projects. This probably is the biggest area where most independent labels are experiencing difficulty. “There are a number of distribution systems. Some are blues, country, folk, new wave, and some handle a potpourri of everything. It’s a question of realistically doing as much distribution as you can yourself. Even with good distribution, it’s up to the artist and the label to provide advertising and promotion. In the case of the Wipers, I will start it off locally and then I’m looking to distribute it world - wide. “ In the music world, things have a habit of getting around to what people listen to. There are cult audiences, for ^example, who have their own natural network among music nuts. These things tend to filter out. Vehicles like Rolling Stone and Billhoard that are distributed worldwide get the news across. Music is a worldwide phenomenon. Music acts may be well received in one country, but not received in another. It’s always a question of finding that audience. Some groups in England fare better here, and some groups in America fare better overseas. With this release there is a market that appeals to people in various countries. “ In an independent label like mine, a person who wants to buy the record has to go into the store and look for the album. A record fan who is into new wave or blues would want to check out the latest sounds. This is the kind of person you would want to reach. “Again, it comes down to time and energy. In my case I’m talking about a record company that’s a spinoff. It’s a building process, done through grassroots channels and distribution to music fans.” In terms of promotion and touring for the group, an independent label allows the band to make the decisions on how and where to begin. In contrast, the major label that promotes a group generally operates on the same principles that a company which sells soap in the supermarket employs— product merchandising. “ Promotion depends largely on the artists and their ability to develop a following. For a smaller situation, the artist and label are more closely aligned in the project and are working together. There are planning stages involved in the promotion. When the album is released in December, we’ll be actively pursuing promotion. In our case, touring is more up to the group. The group functions independently in terms of management. We’ll work together." According to Bob, the independent label operation fits well into his lifestyle. He’s a record nut in the business of selling records to other record nuts. He gets to travel, monkey with material that has a limited audience, and sell the obscure records he’s interested in. "Collecting money for records usually makes or breaks independent labels. Balance of payments is the name of the game. Those are your operating expenses. You want to deal with distributors who have a reputation for paying. It’s like any business —you have cash flow and bills to pay —you just have to run it. “All the business realities of paperwork. royalties and management have to be handled. There have been many producers who have started their own label and have given them up due to administrative headaches. For an independent label, you have to decide how big you want to get. 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