Music Credits

Almost Bliss

Almost Bliss by Kevin MacLeod (incompetech.com), licensed under Creative Commons: By Attribution 4.0.

Plays behind 15 films

Beauty Flow

Beauty Flow by Kevin MacLeod (incompetech.com), licensed under Creative Commons: By Attribution 4.0.

Plays behind 29 films

Inspired

Inspired by Kevin MacLeod (incompetech.com), licensed under Creative Commons: By Attribution 4.0.

Plays behind 26 films

Why there is music at all

The films used to score themselves. A hand-written Web Audio engine generated the bed live in the browser: filtered chords, a bass, a rim click, a hat, and a different profile depending on the subject. It went through three rewrites and still sounded like what it was. Oscillators do not stop sounding like oscillators.

Worse, it never reached the files anyone actually watches. The films are served as real MP4s, and the renderer that builds them mixes narration from the recorded takes. It never ran the synth. Measuring one of the published files showed -91 dB between narration takes, which is silence. The music existed only inside the embedded player.

So the score was replaced with three licensed recordings, chosen from an audition of five, each played under the real narration at the real level before anything was decided.

How a film gets its track

Each track ships as a 90 second seamless loop rather than the full recording. The originals run four to seven minutes at 320kbps, which is far too heavy to send a browser for background music. The loop is cut so it joins to itself: the last four seconds are crossfaded into the first four, so the join is the same four seconds of music arriving from both directions.

Which film gets which bed is derived, not assigned by hand. The role films take the acoustic bed, the public-record explainers take the brightest, and the product films take the third. A film missing from that map still gets a bed from a rotation keyed off its own number, so a new film is never silent even if nobody remembers to regenerate anything.

The bed sits under the narration, never over it. The narration is levelled first and then drives a sidechain that pulls the music down underneath it, and a check runs over every finished film to confirm the speech is still clearly audible against the bed. Music that makes the words harder to hear is a broken film, not a stylistic choice.

Why the credit stays

Creative Commons Attribution 4.0 grants the commercial use these films depend on, on one condition: a credit naming the track, the composer and the licence, placed where someone who wants to check can find it. That is what this page is, and it is why every film also carries the credit under its own player. It is a licence condition, not a courtesy, so it does not get tidied away.

Everything else

The films themselves, the narration and the animation are ours. Company data comes from the public record, and data sources explains where each field is from and under what basis.