Martin Spinelli on recorded voicing strategies


Rather than aspiring to the seamless edit, I would propose: the breathless edit which splices phrases of the same speaking voice unnaturally close together in order to draw attention to our expectations of proper speech rhythms as they exist in time;


the weave edit where two or more separate lines of speech are cut into various pieces and rearranged in an interlocking manner (to create two or more racing and conflated time vectors);

the repeat cut in which two or more versions of the same speech echo each other or follow one after another (to create a sense of uncertainty about where the beginning of a given speech/thought really occurs);

the stuttered edit in which a line of speech is broken by sporadic and uneven returns to earlier points in that line;

the simple interjection edit in which a small fragment of related or unrelated speech interrupts a longer line of thought to support it, argue with it, or distract from it;

the fugue edit in which the same line of speech or alterations of it are layered in increasing density to the point where spoken language approaches sound or music;

and the distant echo in which parts of speech are offered first out of context and then appear later in the linear flow from which they had been extracted.

Numerous additional edits might be found through the study of other media (contemporary television, early film, etc.) which have always been open to more complex notions of time than have evolved for radio.