But I imagine most scenes, when acted out, could only use snippets anyway, to keep the mood music, and a few effects, matching the story.
And that's where I also ponder over Murray's suitability for an audio project; his music is a very loud, *visual* style as befits modern, bombastic television. It stands up by itself *as* music - meaning, I can't help thinking whatever we do with it, it's likely to overwhelm everything else.
Radio is a more intimate medium than television because you can't apply the old adage of 'show, don't tell'. When Barry Letts wrote The Ghosts Of N-Space and particularly The Paradise Of Death, he tried to 'big' up the setting with huge great imaginative scenes, but couldn't find any way of carrying that over to the audience except by Sarah Jane acting as our eyes and ears and literally narrating everything as it happened in a hugely tatty info-dump way. Nick Briggs on the other hand got around this problem rather better in his Dalek Empire / Dalek War series by concentrating on what individual characters were doing during and after a battle, rather than the battle itself. If things needed to explode, then he would cut to the commanders, the people giving the orders whom by definition would be the ones to explain what they were doing.
Try this little exercise. Take an episode of new-series Doctor Who, and an episode of the old series. Pick any new one you like, but to be scrupulously fair with the old one, choose a Patrick Troughton episode scored by Dudley Simpson when he was also working with themes (Dudley didn't get to work from each taped episode directly until the 70s). Don't actually watch them, but play them in the background while you work on something else. See which one you can follow this way more easily and doesn't distract you as much.