Editing Citizen Kane (section)

===Sound===
''Citizen Kane''{{'}}s sound was recorded by Bailey Fesler and re-recorded in post-production by audio engineer [[James G. Stewart]],<ref name="Mulvey"/>{{Rp|85}} both of whom had worked in radio.<ref name="Carringer TMOCK"/>{{Rp|102}} Stewart said that Hollywood films never deviated from a basic pattern of how sound could be recorded or used, but with Welles "deviation from the pattern was possible because he demanded it."<ref name="BBC Complete"/> Although the film is known for its complex soundtrack, much of the audio is heard as it was recorded by Fesler and without manipulation.<ref name="Carringer TMOCK"/>{{Rp|102}}

Welles used techniques from radio like overlapping dialogue. The scene in which characters sing "Oh, Mr. Kane" was especially complicated and required mixing several soundtracks together.<ref name="Carringer TMOCK"/>{{Rp|104}} He also used different "sound perspectives" to create the illusion of distances,<ref name="Carringer TMOCK"/>{{Rp|101}} such as in scenes at Xanadu where characters speak to each other at far distances.<ref name="BBC Complete"/> Welles experimented with sound in post-production, creating audio montages,<ref name="Schatz">{{cite book |last1=Schatz |first1=Thomas |title=History of the American Cinema, volume 6: Boom and bust, the American cinema in the 1940s |publisher=University of California Press |location=Berkeley, Los Angeles, and London |date=1997 |isbn=0-520-22130-3}}</ref>{{Rp|94}} and chose to create all of the sound effects for the film instead of using RKO's library of sound effects.<ref name="Carringer TMOCK"/>{{Rp|100}}

Welles used an aural technique from radio called the "lightning-mix". Welles used this technique to link complex [[film editing|montage]] sequences via a series of related sounds or phrases. For example, Kane grows from a child into a young man in just two shots. As Thatcher hands eight-year-old Kane a sled and wishes him a Merry Christmas, the sequence suddenly jumps to a shot of Thatcher fifteen years later, completing the sentence he began in both the previous shot and the chronological past. Other radio techniques include using a number of voices, each saying a sentence or sometimes merely a fragment of a sentence, and splicing the dialogue together in quick succession, such as the projection room scene.<ref name="Cook">{{cite book |last=Cook |first=David A. |title=A History of Narrative Film |url=https://archive.org/details/historyofnarrati00cook |url-access=registration |publisher=[[W. W. Norton & Company]] |location=New York |date=1982 |isbn=978-0-393-09022-2}}</ref>{{Rp|413–412}} The film's sound cost $16,996, but was originally budgeted at $7,288.<ref name="Carringer TMOCK"/>{{Rp|105}}

Film critic and director [[François Truffaut]] wrote that "Before ''Kane'', nobody in Hollywood knew how to set music properly in movies. ''Kane'' was the first, in fact the only, great film that uses radio techniques.&nbsp;... A lot of filmmakers know enough to follow [[Auguste Renoir]]'s advice to fill the eyes with images at all costs, but only Orson Welles understood that the sound track had to be filled in the same way."<ref>{{cite book |url=http://thedancingimage.blogspot.com/2009/06/three-by-truffaut.html |last1=Truffaut |first1=François |author-link1=François Truffaut |translator-last=Mayhew |translator-first=Leonard |title=The Films in My Life |publisher=Simon and Schuster |location=New York |date=1978 |isbn=0-306-80599-5 |page=282 |access-date=June 2, 2012 |archive-url=https://web.archive.org/web/20120323111502/http://thedancingimage.blogspot.com/2009/06/three-by-truffaut.html |archive-date=March 23, 2012 |url-status=live}}</ref> [[Cedric Belfrage]] of ''The Clipper'' wrote "of all of the delectable flavours that linger on the palate after seeing ''Kane'', the use of sound is the strongest."<ref name="Wakeman"/>{{Rp|1171}}