Sound Lab music collection
==========================

The built-in collection contains arrangements and original compositions made for
Sound Lab, using the historical melodies and creative references below. Those parts
are sequenced by Sound Lab and can be edited, saved and exported. Recorded files are
credited separately at the end of this document. The piano uses the University of
Iowa instrument recordings credited below; the other timbres use the built-in
oscillators. Sound Lab's own material is offered under the terms in LICENSE.txt.

ODE TO JOY -- Ludwig van Beethoven (1770-1827)
16-bar theme, transposed to C major, with new chip accompaniment.
Melody reference: Mutopia edition 528, maintained by Peter Chubb.
The edition and typesetting are explicitly dedicated to the public domain.
https://www.mutopiaproject.org/cgibin/piece-info.cgi?id=528

BACH PRELUDE -- Johann Sebastian Bach (1685-1750)
Prelude in C major, BWV 846: opening eight bars, revoiced for synth plucks.
This is an excerpt, not the complete prelude. The short pluck envelopes simplify
the score's sustained lower notes.
Score reference: Mutopia edition 5, maintained by Tobias Erbsland; earlier
entry/editing credits include Shay Rojansky and Han-Wen Nienhuys.
The edition and typesetting are explicitly dedicated to the public domain.
https://www.mutopiaproject.org/cgibin/piece-info.cgi?id=5

FRERE JACQUES -- Traditional French melody
The familiar melody arranged as a looping synth round, transposed to C major.
Pairs of the original 2/4 measures occupy eight 4/4 editor bars, preserving the
rhythmic pattern. The source's additional closing coda is omitted for looping.
Melody reference: Jean-Baptiste Weckerlin, Chansons et rondes enfantines,
Garnier, 1870, page 85. The historical book scan is marked public domain.
https://fr.wikisource.org/wiki/Chansons_et_rondes_enfantines/Fr%C3%A8re_Jacques
https://commons.wikimedia.org/wiki/File:Weckerlin_-_Chansons_et_rondes_enfantines,_Garnier,_1870.djvu

ORIGINAL PIECES (2026-10-20)
NEON HIGHWAY (synthwave), WAREHOUSE (techno), LATE TAPE (lo-fi hip hop),
SKYLINE DRIFT (drum and bass), MIDNIGHT POOL (deep house) and PIXEL RUSH
(chiptune) are original compositions written for Sound Lab in those genres'
idioms: their chord progressions, bass lines, melodies and drum patterns are new,
and no song, recording, MIDI file or sample is transcribed or included. They are
offered under Sound Lab's terms in LICENSE.txt.

ORIGINAL GOTHIC ACTION SAMPLES (2026-10-21)
ASHEN PROCESSION -- D minor, 144 BPM, 16 bars. Organ-like voices, plucked
arpeggios and a rock backbeat; a ceremonial theme, variation, contrast and return.
CLOCKWORK CRYPT -- A minor, 156 BPM, 16 bars. Bright pulse melody, galloping
bass and driving drums; a chase theme with contrasting phrases and a turnaround.
CRIMSON MASQUE -- E minor, 168 BPM, 16 bars. A theatrical boss theme with a
half-time middle section and a return to the main melody and full-energy drums.

Creative reference: a written brief on the Vampire Survivors soundtrack's style.
Its melodic gothic action vocabulary, baroque colors, retro timbres and rock/metal
drive informed these pieces. Their melodies, voicings, bass lines and drum patterns
are original; no Vampire Survivors cue, recording or MIDI file is transcribed,
sampled or bundled. These pieces use the built-in oscillators and envelopes,
and are offered under Sound Lab's terms in LICENSE.txt.

ORIGINAL LAST LIGHT SCORE (2026-10-21; shared-theme direction 2026-10-22)
ONE SMALL LIGHT -- title / character selection, 84 BPM, 16 bars.
MOTEFLOW -- first-night early survival, 96 BPM, 16 bars.
THE DARK CLOSES -- first-night late pressure, 128 BPM, 16 bars.
AFTER THE NIGHT -- cleared-run results, 84 BPM, 8 bars.
AGAINST THE SWARM -- first-night midpoint elite / Warden, 128 BPM, 16 bars.
ECLIPSE HEART -- late Hollow King, 148 BPM, 16 bars.
A FALLING EMBER -- death / failed-run results, 72 BPM, 8 bars.
RIME LANTERN -- The Long Cold early survival, 96 BPM, 16 bars.
WHITE HORIZON -- The Long Cold late pressure, 128 BPM, 16 bars.
THE PACK DRAWS NEAR -- The Long Cold midpoint elite / Warden, 128 BPM, 16 bars.
ANTLERS IN THE MIST -- late Pale Stag, 148 BPM, 16 bars.
CRIMSON ORBIT -- The Blood Moon early survival, 96 BPM, 16 bars.
RED TIDE -- The Blood Moon late pressure, 128 BPM, 16 bars.
REVENANT MARCH -- The Blood Moon midpoint elite / Warden, 128 BPM, 16 bars.
THE MOON HUNGERS -- late Red Moon, 148 BPM, 16 bars.
TWO SHORES, ONE BELL -- The Still Tide early survival, 96 BPM, 16 bars.
THE CURRENT REMEMBERS -- The Still Tide late pressure, 128 BPM, 16 bars.
CORDS ACROSS THE CROSSING -- The Still Tide midpoint elite / Warden, 128 BPM, 16 bars.
STILL LISTENING -- late Low Bell, 148 BPM, 16 bars.
BORROWED SAP -- The Unfallen Orchard early survival, 96 BPM, 16 bars.
ROOTS SEEKING GROUND -- The Unfallen Orchard late pressure, 128 BPM, 16 bars.
THE LIVING TRELLIS -- The Unfallen Orchard midpoint elite / Warden, 128 BPM, 16 bars.
NOTHING LEAVES THE ROOT -- late Fruitbearer, 148 BPM, 16 bars.

Composed for LAST LIGHT's cyan orb, dark abstract field, luminous motes and
escalating geometric combat. All twenty gameplay cues retain the complete
original Moteflow melody in D minor: the same 44 note attacks, pitches,
velocities, rests and sixteen-bar form. The D-A-E-F hook, falling answer,
open middle and octave return stay recognizable through every night.
First Night uses rounded triangle glass, warm pads and authored echoes;
The Long Cold uses crystalline detuned sine glass, airy dyads and wide echoes;
The Blood Moon uses dry pulse reed, low minor dyads and metallic ritual drums;
The Still Tide uses rounded octave bells, low breathing pads and a broad reply;
The Unfallen Orchard uses warm dry piano, offbeat seed notes and open dyads.
All nights follow a common tempo policy and drum/bass onset patterns, with
softer bass and encounter energy carried by drums, brightness and articulation.
Title, clear and death retain their separate arrangements; the cleared-run
piece changes the motif's F to F-sharp, while death falls into a lower register.

The twenty gameplay entries in Sound Lab are fixed, editable snapshots of the
score: early survival at 96 BPM, late pressure at 128, midpoint elite at 128 and
late boss at 148. In LAST LIGHT the same music builds through the night and
follows its encounters as you play.
All melodies and arrangements are original Sound Lab compositions, offered
under Sound Lab's terms in LICENSE.txt. The Orchard's PIANO instrument uses the
separately credited University of Iowa isolated recordings below. No other
game's music or recording of these compositions is transcribed or sampled.

ORIGINAL KEYGEN PIECES (2026-10-21)
SERIAL BLOOM -- C minor, 154 BPM, 16 bars.
HEX AFTERGLOW -- F-sharp minor, 146 BPM, 16 bars.
PATCH RUNNER -- D minor, 168 BPM, 16 bars.
These are original compositions in the keygen/demoscene idiom, with pulse
melodies, rapid chip arps, saw/triangle bass and synthesized percussion.
Pitch cycles advance every 15-20 milliseconds without restarting the oscillator
or envelope, giving the sustained voices their characteristic fast flutter.
Each has contrasting phrases and a turnaround for continuous loop playback.
No existing keygen tune, recording, MIDI file or sample is transcribed or used.
The compositions are offered under Sound Lab's terms in LICENSE.txt.

The historical pieces use only these melodies and the source editions named
above. Their public-domain status does not extend to modern arrangements or
recordings by other artists. Mutopia's edition declarations are explained at:
https://www.mutopiaproject.org/legal.html
Melody references checked 2026-10-20.

PIANO INSTRUMENT RECORDINGS
University of Iowa Electronic Music Studios / Lawrence Fritts,
Musical Instrument Samples.
Steinway & Sons model B grand piano, performed by Evan Mazunik;
recorded November 5 and 27, 2001, by Michael Cash.
Quiet (pp) individual notes are trimmed,
resampled and embedded in the PIANO waveform. These are instrument samples,
independent of the composition performed by the sequencer. The embedded bank
is used by LAST LIGHT's Unfallen Orchard arrangements.
Source and permission: https://theremin.music.uiowa.edu/MIS.html
Instrument details: https://theremin.music.uiowa.edu/MISpiano.html
The source states that the recordings "may be downloaded and used for any
projects, without restrictions."

RECORDED MUSIC
EUPHORIC DEFIANCE -- © 2026 slop.kitchen.
Bundled as music/Euphoric Defiance.mp3 for direct playback in Sound Lab. The file
is copied unchanged: no reconstruction, transcoding or normalization. It is not
part of the editable synth collection.
SHA-256 of the bundled file:
7c6ef189867f0e7d75b0057d1e984d318239dc3d7b847854114d303e3fb546ae
Offered under Sound Lab's terms in LICENSE.txt. The third-party licenses of the
decoder and the other components do not cover it.
MP3 decoder provenance and license notices: AUDIO-CODECS.txt.

EUPHORIC DEFIANCE LOOP ARRANGEMENTS -- © 2026 slop.kitchen.
MENU, MENU ALT, FLOW A, FLOW B, PRESSURE and DEFIANCE are loop arrangements of
Euphoric Defiance, bundled as music/euphoric-defiance-01-menu.mp3 through
music/euphoric-defiance-06-defiance.mp3. They are available as separate
recordings in Sound Lab, not as part of the editable synth collection or LAST
LIGHT's gameplay soundtrack. The prepared recordings use selected 64-bar loop
regions, short repeat-point edits and matched levels. Each 128 kbps stereo MP3
retains gapless timing metadata for exactly 5,015,510 frames at 48 kHz
(104.489792 seconds). How each loop was prepared, with the files' hashes, is in
music/LOOPS.json.
Offered under Sound Lab's terms in LICENSE.txt. The third-party licenses of the
decoder and the other components do not cover them.
