The read
March 1991. The Silence of the Lambs has been in cinemas for a few weeks, and audiences are still recovering from a voice that threatened at a murmur. On the radio, the man behind it reads almost eerily composed: average pitch, melodic range, variability, chest resonance and pause length — all optimal, everything mid-band, nothing pushed. That is its own kind of signature. Lecter frightened people at conversational volume because Hopkins can make range and timing do the work loudness usually does — and the measurements show exactly that instrument: ten semitones of usable sweep, deployed without ever raising the voice.