Soundproofing is costly and difficult, especially for float centers. Most recording studios don’t have to worry about showers or a solution that eats up concrete. It makes sense that we might want to quantify the challenge of sound in a very straight forward way, but the reality is much different than that. Different types of sound can penetrate float rooms at different intensities and different floaters will care more than others.

Graham and Ashkahn share some of their own frustrations with creating their ideal soundproofing for Float On and some helpful tips for identifying noise as well as some advice on how to keep your sanity. 

Float centers require a lot of upfront capital to get started up, and because of that it can feel like float centers should operate like big business, or perhaps bigger businesses than they actually are. Some centers may consider, at some point, having their employees sign non-compete clauses to prevent them from sharing trade secrets with competitors. Graham and Ashkahn have been at this for a while and express their opinions as to why this probably isn’t the most practical approach for your float center. 

This episode takes the time to have Graham and Ashkahn share their experiences in the tank. They take the opportunity to explain their relationships to floating and how they differ, and in some ways, how they are very similar.

About 15% of people have tinnitus, at least in the United States. It’s one of the most common medical conditions in the country, but most people don’t think about how to accommodate it. Many people who have it don’t even notice it unless they’re in total silence, which adds a particular challenge to float centers. 

Graham and Ashkahn talk about their experiences in floating people with tinnitus and how to approach the situation when and if a float becomes problematic.

Tired of running gimmicky marketing with steep discounts because your float center has an empty schedule?

Do you want that easy lifestyle business where customers just flock to you instead of you having to hunt them down? Want to be able to raise your prices without worrying about losing revenue?

Graham and Ashkahn share a secret they recently discovered while on their trip to Australia about how you can keep your float center 110% full at all times (that extra 10% isn’t cliche, it’s a waitlist)!

A UL Field evaluation is something that can be requested from your Health Department or regulator, often prior to opening. It’s designed to ensure a certain standard for electrical equipment in commercial businesses. Graham and Ashkahn break down the process of getting a UL Field evaluation, how much it’s likely to cost, and even some tips when discussing this with your health department.

So HDPE stands for High Density Polyethylene. It’s a type of plastic and it’s incredibly handy for float centers. Float On switched to using this any place they previously would’ve used wood in their building materials. 

Graham and Ashkahn break down exactly what this miracle product is, where you can buy it, all the different uses it has in a float center, and some special tips and tricks of getting it just the way you need it.

The good news is that it doesn’t seem to happen after the first float, the bad news is we’re not really sure why it happens, but we have some theories. This even happened to Ashkahn the first time he floated, so this is an issue very personal to his heart. 

When you’re just starting out, you’ll try anything to get the word out. Trade shows are a fairly common way to generate interest in a new technology or practice, so why not floating?

Graham and Ashkahn have a few trade shows under their belt and they’ve had modest almost success at them. They lay out their experiences and challenges that float tanks face at a venue like this and what you should be prepared for if you decide to attend one.