OAKLAND — Lurking in a warehouse on a side street in Oakland, a new-old movement is taking root.

“The era of record studios is over,” said John Vanderslice, the proprietor of the new Tiny Telephone Oakland studio.

It’s not a contradiction, though — not even for Vanderslice, whose studio in San Francisco is one of the most renowned places in the indie rock world for its fidelity to an old-fashioned, unadorned analog sound. Instead it’s an explanation of the kind of studio Vanderslice runs.

“This stuff has to be accessible to people,” he said.

The Oakland studio, which opens Friday, is the culmination of a long process, including a successful crowdfunding campaign.

Sitting in the control room, which is paneled in reclaimed wood, Vanderslice explained that having a foothold in the East Bay makes it possible for him to extend to more bands the kind of studio experience he thinks everyone deserves — and the kind of sound that many people don’t even realize is available.

“I always wanted to be in Oakland,” Vanderslice said.

That’s why he keeps the studio time for Tiny Telephone very cheap. But that has meant opening the Oakland studio has been financially tricky. Vanderslice ran a crowdfunding campaign on the website Kickstarter last summer in order to raise part of the money. His goal of $39,000 was reached quickly and he ended up raising more than $115,000 through the campaign, a sign of Tiny Telephone’s popularity. Still, he cheerfully admitted he is maxing out his own credit cards to make Tiny Telephone work.

“I could clearly find a more efficient way to make money,” he said, without irony.

The money has gone to transform a section of a warehouselike building in Oakland into a beautiful space with all the parts necessary to create a top-level recording studio.

“This room can be one of the class rooms of the Bay Area,” said Brian Hood, who is building the studio for Vanderslice.

One wall of the largest room where musicians can perform is floor-to-ceiling books, which serve the double purpose of diffusing the sound and looking good, and every angle in the room has been designed o further the sound goals of the space and with aesthetics in mind.

“It’s going to be really cool,” Hood said.

One of the reasons Vanderslice is not concerned about taking the leap east is that the Oakland studio was already booked for its first six months even before it opened. Vanderslice said he operated on the “taqueria” model for both studios, charging below market rate but ensuring they are booked all the time, unlike other top studios.

“We don’t advertise, we’re just word-of-mouth,” he said.

It’s unusual for a record studio to be that full, but people come for the combination of the low rate and coolness-by-association of recording in a spot that has seen some very well-known performers. Vanderslice’s San Francisco studio has had a parade of famous clients, from Bob Mould to the Mountain Goats, and from Death Cab for Cutie to Sleater-Kinney. But Tiny Telephone’s bands don’t just come for the status. They also come for the equipment.

Vanderslice’s passion for his tools is clearly on show. His eyes light up as he talks about Tiny Telephone Oakland’s mixing console, originally used in the renowned recording studio the Plant, in Sausalito, and now being restored by engineer Garry Creiman. Vanderslice admits he bought the 64-channel Neve 8068 even before Tiny Telephone Oakland began to take shape.

“I didn’t even have a place to put it,” he said.

It was serendipity that he got it at all, but that combination of shrewdness and luck seems to have been with Vanderslice from the beginning. He opened Tiny Telephone San Francisco in the Mission in 1997. The original plan was just a group of friends chipping in on a rehearsal space, but soon the idea of a recording space took shape, one that would handle unknown bands with the same respect it would give to successful ones.

“We don’t want to alienate anyone,” he said.

Now, nearly 20 years later, Tiny Telephone is a one-man show — Vanderslice answers every email and handles all the bookings — and also a force in the analog recording scene. With the new Oakland studio, Vanderslice now has the kind of space and technology he needs to bring his concept to even more bands.

“This stuff is philosophically important to me,” he said.