ABSTRACT
This chapter aims to explore the editing processes that music documentary producers use to refine and shape their audio into compelling radio content. There is a risk that by editing a documentary in a style that is too simplistic and straightforward, the final item may become mundane and unappealing. A nostalgia for tape editing continued long after it ceased to be standard practice. The practice of splicing was being described in audio publications dating from the early nineties and lasted well after most producers had transitioned to new digital editing tools. A music documentary dealing with more emotional content might require a greater degree of sensitivity towards editing and pace. The overall station sound has to be kept in mind when structuring and editing a music documentary for radio. R. McLeish raises the difficult question of whether the fabrication of actuality is ever justifiable in the field of radio production.
