Waipu-based, Dean Young, is no stranger to working with audio. Driven by a passion for recording music, he’s been in the industry for thirty years and found his feet in audio production, before transitioning into on-air radio.

Dean shares his love of music and the importance of finding the hook in a story, including working on Season Two of Rova’s Aotearoa Hip Hop, and producing and hosting his own podcast, Studio Stories.

How did you get your start in the industry?

Audio is my first love and has continued to be a constant [in my life]. I learnt how to record my band (and others), after-hours in the radio station’s 16-track analogue production studio. I eventually invested in a digital home studio in 1998 and started recording and doing everything myself, which resulted in multiple albums and EPs over the years. The most recent was ‘We’ve Been Hoping You’d Wake and Now You Have’ by my project, ‘BUILT’.

How long have you been making podcasts?

My foray into the podcast world came on the heels of six years as a radio imaging producer. When I was made redundant from that role, I moved to Northland and started my own podcast, Studio Stories, which focuses on the stories behind New Zealand’s best-known albums.

I’ve also been working on several podcasts for MediaWorks’ Rova platform, including six episodes of the epic ‘Aotearoa Hip Hop’ Season Two. [It was] a massive job with each episode clocking in at around 90-minutes. But it was so enjoyable to piece together, and Rova gave me a lot of creative licence.

Why did you want to make a music podcast and what was your approach to creating it?

In my day job, I listen to A LOT of podcasts to keep me sane. As my job isn't the most creative — and coming from a previous career that was all about creativity — I needed to create. So, it was during some of those mundane moments when I thought that I could create a podcast where the focus was on one of my loves - audio production.

I'm always looking for podcasts or videos that break down how an album or a song is made, The Song Exploder podcast, being one.

But the main inspiration was the TV show ‘Classic Albums’ where an album is broken down by the people who made it, and the people that helped bring it to life. I thought I could do the same, but in an audio format for New Zealand albums. There are so many amazing Kiwi records that I've wanted to know more about, but could never find much info on outside of the odd article in Rip It Up magazine. I want to know how and where they were recorded, who recorded them, and how did they get that drum sound!???

The challenge [in making the] podcast was to get that information without going down super nerdy wormholes. And if we do, try to make it interesting to someone who doesn't have the faintest interest in how much compression was on the kick drum — I felt we did that in the Supergroove ‘Traction’ episode, especially.

[In terms of the episodes], Jon Toogood was a sweetheart, Malcolm Welsford (Shihad/Super Groove’s producer), was so giving of his time, and the Devilskin guys were great fun to chat to. Overall, I was so surprised that no one in Season One turned me down when I approached them to answer a few questions about an album they recorded 20 to 30 years ago.

Paint a picture of your daily work routine.

With Studio Stories I do everything. I’m a bit of a control freak, so it all begins with what albums I’ll look to tackle in the season, which is where I am now with Season Two.

I then make a wish-list of guests for each album, listen to the album over and over, research, write the questions, book the guests, record them and then edit each episode; weaving the guests accounts of the album’s creative process in with any other guests to paint a picture of how these albums were made.

It’s during this part of the process that I look for opportunities to punctuate their memories with creative sound design. Then it’s a matter of adding the music, then the mix.

What do you love most about being in the podcast industry?

I love the ‘storytelling with sound’ aspect. Throughout my radio career, I would create audio skits and bits for my radio shows. The aim always being to try and make them sound and feel as real as possible to take the listener on a journey.

As an imaging producer for The Sound Radio Network, I was lucky enough to write and produce several hour-long radio specials. One particularly memorable one focused on the making of Pink Floyd’s, The Wall. This is where the love of long-form storytelling with sound really came to the fore.

What do you think are some of the biggest challenges for the podcast industry today?

I think the biggest challenge is time. All through my radio career [there’s the issue where] you’re battling to snare more and more of your listener’s time. The same rings true for the podcast industry — the same rules apply.

What opportunities do you think podcasts create?

Podcasts really can tick so many boxes, and directly, too. You can learn a language, get your news, deep dive your favourite book or TV show, research the big issues from all angles. I feel like the opportunities are limitless.

If there was a change you would like to see in the industry, what would it be?

I’m not really up with the play on the advertising side of things, but I’d like to see more companies and more businesses — large and small — understand the benefit of advertising on podcasts.

What’s the one thing that annoys you when you listen to a podcast?

Bad production! Or just bad levels. There’s nothing worse than having your ears sheared off with an ad, or an element that is mistakenly hard-panned and 10 db. louder.

What’s your favourite podcast of all time and why?

I don’t have a favourite of all time, but I do have a few that stand out as being particularly great. Any of the Zane Lowe interview series podcasts are phenomenal. His interview approach is second-to-none, other than perhaps Joe Rogan, who I regularly listen to. And I’m currently really enjoying the Foundation Podcast, which is a deep dive into each episode of the Apple TV Show, Foundation. Great production and amazing insights into the writing and creativity behind the show.

Pick one of the two options: Comedy or True Crime?

Definitely comedy. I guess it comes from my breakfast radio days. When you can get a laugh out of someone with just your voice, you’re doing something right.

Narrative Documentary or Talk Personality?

Narrative Documentary - I have an extremely inquiring mind. So, when I find one that resonates, I love it.

Coming from a radio background, what do you miss most about the broadcast environment?

I miss the people. The energy of that environment really becomes a part of you after three decades in the radio industry. But I don't miss the occasional politics, and I certainly don't miss the threat of redundancy!

Dean Young is the founder of Rustlepodcasts.com: a one-stop-shop for podcast editing and production, including basic edits to cleaning up dialogue and full production (sound design and bespoke music). Rustle is also an umbrella for Studio Stories and future podcast projects. Studio Stories Volume 2 is currently in production.

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