Previously on keep the dream alive.

So my first tour was opening up for the mountain goats and that for me was just like mind blowing.

We would all share a hotel room. You're really stressed. I mean honestly I've never been more stressed in my life than when I've been on tour in a van.

And you're just, you know, just so you can make like a $250 show.

And it's like an unsustainable kind of like emotional tension and the studio is breaking down.

So touring almost like mimics this manic depressive cycle, this mental health emergency cycle.

And honestly I would have I would have fucking murdered a child at that point to keep touring.

And man, let me tell you there's nothing uglier than a fucking low budget arts business with like a razor thin profit margin

having to like pantomime capitalism. There's no more busted model for a business than a recording studio.

It was just a matter of time before the people who owned that plot of land were going to realize that they could make a lot of money by not having the current tenants there.

I'm actually kind of surprised that it made it as long as it did.

I mean I I've recorded another studios in San Francisco that were in far worse shape that cost three times as much per day.

And depending on your perspective that makes John an incredibly dumb person or one of the most generous people that you could ever know.

All that we fucking have in the end is just personal interaction. That's it. It's all you're left with.

So you know what are you going to do with that you're going to be a prick or you're going to be fun to hang out with.

Keep the dream alive.

Keep the dream alive.

Hi this is John Vander Slyce owner of tiny telephone recording and musician.

So it's 2004 2005 and the studio had really grown into something that was I don't know it's kind of beyond like a business or even an arts business where we had people just showing up like unannounced like kind of like tourists which was really wild and definitely super annoying because you can't like walk in on a session and bands would be super freaked out and sometimes those bands would be

like micro bands and then other times they would be really big and so that was kind of wild but the good part about that is that as the studio got Coltie it just was permanently booked.

It's been a lot of time making policies that were on one hand respectful to bands but also punitive in a way that we were really cheap and you know the studio at this point was 250 a day with an engineer's I think we're 200 a day.

We were under market but we kind of like highly valued that people with book days in the studio and then keep their time I mean we were really targeting working class bands that were on a touring schedule that would come back and then book two weeks.

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