# Audio candidate credits

All audio remains unapproved. Sources, processing and file levels are listed in [manifest.json](manifest.json).

## Original music arrangements

Three original eight-bar compositions/arrangements were authored for this project in `tools/prepare_audio.py`: **Smoke over Malaz**, **On the Battlement**, and **An Uneasy Empire**. No existing soundtrack or book-related recording was sampled or transcribed. Editable MIDI and note arrangements are in `source/midi/`.

Rendering uses **FluidSynth** and the locally installed **FluidR3 GM** SoundFont by **Frank Wen and contributors**, released under the MIT licence. Its full packaged notice and contributor list are preserved in [source/FluidR3-LICENSE.txt](source/FluidR3-LICENSE.txt). The SoundFont itself is not bundled. [FluidSynth documentation](https://www.fluidsynth.org/wiki/UserManual/) · [Debian package information](https://packages.debian.org/fluid-soundfont-gm).

## Recorded foley sources

**RPG sounds**, **Kenney Vleugels / Kenney.nl**, CC0. [Source pack and licence declaration](https://opengameart.org/content/50-rpg-sound-effects).

Selected unmodified source files are kept in `source/kenney/`, with the pack's original `LICENSE.txt`. Footstep candidates are filtered from `footstep00`–`footstep03`; light equipment variants layer low-level `cloth1` and `metalClick`. Individual cloth and equipment samples use those same sources. The processed “stone” label describes the proposed use, rather than a documented surface in the original recording.

## Synthesized wind source

**wind1**, **Luke.RUSTLTD**, CC0. [Source and licence declaration](https://opengameart.org/content/wind1). The source is synthesized in PureData, with the creator crediting Andy Farnell's tutorial; it is not an outdoor recording. The original WAV is retained as `source/wind1.wav`. Our loop uses filtering and a two-second overlap to smooth the seam.

## Synthesized effects

The UI advance, text tick and rusty vane friction study are synthesized by `tools/prepare_audio.py`, using original oscillator/noise recipes. The vane candidate uses sliding resonances and filtered noise, not an instrument performance. It is deliberately separate from the wind loop so it can be placed at book-supported moments.