Best Place to Record Your Analog Indie Rock Masterpiece Dying to get your indie rock studio geek on but short on moolah? Tiny Telephone may be able to help. The 1,700-square-foot Mission District studio comes equipped with a 50-input Neve 5316 console, a Studer 827 24-track recorder, and a gear addict’s smorgasbord of vintage mics, preamps, oddball compressors, and some prize, working artifacts from owner, manager, and acclaimed musician John Vanderslice’s beloved ’70s-era monophonic synthesizer collection. "We’re really modeled after a small, full-service studio that might have existed in 1976," Vanderslice says. "I’m not sure if the gear ever got better, and I’m sure the standards haven’t been raised since that point." There aren't any digital workstations in this proudly "analog-centric" room, though in-house producers and engineers — including Scott Solter (Spoon, Court and Spark), Death Cab for Cutie’s Chris Walla (Hot Hot Heat, Nada Surf), Shellac’s Bob Weston (Idlewild, Sebadoh), and Steve Fisk (Unwound, Low) — have been known to spirit them in. If that situation’s good enough for everyone from Mountain Goats and John Doe to Deerhoof, Richard Buckner, and Thinking Fellers Union Local 282, it should be good enough for you. And if Vanderslice gets his way, some of the studio’s more renowned regulars will return the love at Tiny Telephone’s seventh-anniversary show at Cafe du Nord in early November.