“I can make it stick!”
He’d said that louder than he’d intended to, and felt his courage desiccate into nothing as all the eyes in the FBI briefing room focused on him.
“Beg pardon, son?” Said the case lead at the front of the room, visibly displeased at being interrupted, especially by a junior agent.
“I can make it stick, sir. They’re going to slip because of a lack of evidence right?” He started talking faster, getting excited. “But that’s not true. We’ve got recordings of them threatening the banker and recordings of them from the interrogations.”
“So what? ‘Less you got some magic way to prove beyond a doubt that it wasn’t another fella with the same soundin’ voice, we’re just as screwed.”
“I do, actually. We can match voice patterns and intonations from both recordings, show physical evidence that the speaker in both is the same person.”
“You got papers to back you up? Experts to prove this isn’t some crock?”
“Wouldn’t bring it up if I didn’t, sir.”
“Good enough. I’ll see what the DA says. And son, how’d you know about all that sound crap?”
“We’re in Memphis, sir. I grew up in a recording studio.”
In the 1970s the local FBI branch ran a case against a pair of bank extortionists. They had recordings of the criminals calling in the threats, and had arrested them picking up the payoff money. Unfortunately, there wasn’t enough additional evidence to convict. Luckily, because of Memphis’s place in the recording world, they were able to tap local knowledge and develop a technique to match vocal patterns that was admissible in court. This technique is still used in legal cases to this day. This is probably the only occurrence in history of rock and roll actually stopping crime.