1. DISTANCE TRACK A 00:02:21 EVOLVING ELECTRONIC BED FOR TENSION, INVESTIGATION, COMMUNICATIONS AND TECHNOLOGY, WITH BUILDING SYNTH PATTERNS, MINIMAL PERCUSSION, DEEP BASS, SOFT ATMOSPHERES AND LIGHT THEME.

2. DISTANCE TRACK B 00:00:32 COMMERCIAL LENGTH. EVOLVING ELECTRONIC BED FOR TENSION, INVESTIGATION, COMMUNICATIONS AND TECHNOLOGY, WITH BUILDING SYNTH PATTERNS, MINIMAL PERCUSSION, DEEP BASS, SOFT ATMOSPHERES AND LIGHT THEME.

3. DISTANCE TRACK C 00:00:16 COMMERCIAL LENGTH. EVOLVING ELECTRONIC BED FOR TENSION, INVESTIGATION, COMMUNICATIONS AND TECHNOLOGY, WITH BUILDING SYNTH PATTERNS, MINIMAL PERCUSSION, DEEP BASS, SOFT ATMOSPHERES AND LIGHT THEME.

4. DISTANCE TRACK D 00:02:21 UNDERSCORE, REDUCED ARRANGEMENT. SPARSE ELECTRONIC BED FOR TENSION, INVESTIGATION, COMMUNICATIONS AND TECHNOLOGY, WITH MINIMAL PERCUSSION, DEEP BASS AND LIGHT THEME.

5. DISTANCE TRACK E 00:02:21 UNDERSCORE WITHOUT BASS OR PERCUSSION. SPARSE ELECTRONIC BED FOR TENSION, INVESTIGATION, COMMUNICATIONS AND TECHNOLOGY, WITH BUILDING SYNTH PATTERNS, SOFT ATMOSPHERES AND LIGHT THEME.

6. DISTANCE TRACK F 00:02:16 UNDERSCORE, AMBIENT VERSION. EVOLVING ELECTRONIC BED FOR TENSION, INVESTIGATION, COMMUNICATIONS AND TECHNOLOGY, WITH GENTLY PULSING SYNTH PATTERNS AND SOFT ATMOSPHERES.

7. FACTUAL REPORTS A 00:02:28 INSISTENT PIANO ARPEGGIO LEADS THIS EVOLVING BED FOR FACTUAL, INVESTIGATIVE, COMMUNICATION AND TECHNOLOGY PROGRAMMING, WITH PULSING SYNTHS, PERCUSSIVE METALS, DEEP BASS AND ATMOSPHERIC PADS.

8. FACTUAL REPORTS B 00:00:32 COMMERCIAL LENGTH. INSISTENT PIANO ARPEGGIO LEADS THIS EVOLVING BED FOR FACTUAL, INVESTIGATIVE, COMMUNICATION AND TECHNOLOGY PROGRAMMING, WITH PULSING SYNTHS, PERCUSSIVE METALS, DEEP BASS AND ATMOSPHERIC PADS.

9. FACTUAL REPORTS C 00:00:16 COMMERCIAL LENGTH. INSISTENT PIANO ARPEGGIO LEADS THIS EVOLVING BED FOR FACTUAL, INVESTIGATIVE, COMMUNICATION AND TECHNOLOGY PROGRAMMING, WITH PULSING SYNTHS, PERCUSSIVE METALS, DEEP BASS AND ATMOSPHERIC PADS.

10. FACTUAL REPORTS D 00:02:27 UNDERSCORE, REDUCED PIANO. SIMPLE PIANO MOTIF LEADS THIS EVOLVING BED FOR FACTUAL, INVESTIGATIVE, COMMUNICATION AND TECHNOLOGY PROGRAMMING, WITH PULSING SYNTHS, PERCUSSIVE METALS, DEEP BASS AND ATMOSPHERIC PADS.

11. FACTUAL REPORTS E 00:02:28 UNDERSCORE, LEAD PATTERNS ONLY. INSISTENT PIANO ARPEGGIO LEADS THIS EVOLVING BED FOR FACTUAL, INVESTIGATIVE, COMMUNICATION AND TECHNOLOGY PROGRAMMING, WITH PERCUSSIVE METALS AND ATMOSPHERIC PADS.

12. FACTUAL REPORTS F 00:02:28 UNDERSCORE, AMBIENT VERSION. ATMOSPHERIC BED FOR FACTUAL, INVESTIGATIVE, COMMUNICATION AND TECHNOLOGY PROGRAMMING, WITH PULSING SYNTHS AND ATMOSPHERIC PADS.

13. GREY FALLS A 00:02:48 ORGANIC-ELECTRONIC HYBRID CUE FOR INVESTIGATION, TENSION AND FACTUAL PROGRAMMING BUILDS WITH EVOLVING PIANO AND SYNTH ARPEGGIOS, SUSTAINED STRINGS, DEEP BASS AND PIZZICATO PULSE.

14. GREY FALLS B 00:00:33 COMMERCIAL LENGTH. ORGANIC-ELECTRONIC HYBRID CUE FOR INVESTIGATION, TENSION AND FACTUAL PROGRAMMING BUILDS WITH EVOLVING PIANO AND SYNTH ARPEGGIOS, SUSTAINED STRINGS, DEEP BASS AND PIZZICATO PULSE.

15. GREY FALLS C 00:00:17 COMMERCIAL LENGTH. ORGANIC-ELECTRONIC HYBRID CUE FOR INVESTIGATION, TENSION AND FACTUAL PROGRAMMING BUILDS WITH EVOLVING PIANO AND SYNTH ARPEGGIOS, SUSTAINED STRINGS, DEEP BASS AND PIZZICATO PULSE.

16. GREY FALLS D 00:02:48 UNDERSCORE WITHOUT LEAD. ORGANIC-ELECTRONIC HYBRID CUE FOR INVESTIGATION, TENSION AND FACTUAL PROGRAMMING BUILDS WITH EVOLVING SYNTHS, SUSTAINED STRINGS, DEEP BASS AND PIZZICATO PULSE.

17. GREY FALLS E 00:02:47 STRIPPED-BACK UNDERSCORE. ORGANIC-ELECTRONIC HYBRID CUE FOR INVESTIGATION, TENSION AND FACTUAL PROGRAMMING BUILDS WITH SYNTH ARPEGGIOS, SUSTAINED STRINGS, DEEP BASS AND PIZZICATO PULSE.

18. GREY FALLS F 00:02:38 UNDERSCORE WITH ARPEGGIOS AND PULSES ONLY. ORGANIC-ELECTRONIC HYBRID CUE FOR INVESTIGATION, TENSION AND FACTUAL PROGRAMMING BUILDS WITH EVOLVING PIANO AND SYNTH ARPEGGIOS AND PIZZICATO PULSE.

19. GREY FALLS G 00:02:47 AMBIENT UNDERSCORE. ORGANIC-ELECTRONIC HYBRID CUE FOR INVESTIGATION, TENSION AND FACTUAL PROGRAMMING BUILDS WITH SIMPLE PIANO AND SYNTH ARPEGGIOS, SUSTAINED PADS AND DEEP BASS.

20. HARD PROOF A 00:02:42 MALLET-DRIVEN BUILDING CUE FOR INVESTIGATION, LIGHT TENSION, DISCOVERY AND FACTUAL PROGRAMMING, FEATURING MARIMBA, PIZZICATO STRINGS, HARP, BRIGHT PIANO-LIKE SYNTH, PADS AND METALLIC PERCUSSION.

21. HARD PROOF B 00:00:32 COMMERCIAL LENGTH. MALLET-DRIVEN BUILDING CUE FOR INVESTIGATION, LIGHT TENSION, DISCOVERY AND FACTUAL PROGRAMMING, FEATURING MARIMBA, PIZZICATO STRINGS, HARP, BRIGHT PIANO-LIKE SYNTH, PADS AND METALLIC PERCUSSION.

22. HARD PROOF C 00:00:16 COMMERCIAL LENGTH. MALLET-DRIVEN BUILDING CUE FOR INVESTIGATION, LIGHT TENSION, DISCOVERY AND FACTUAL PROGRAMMING, FEATURING MARIMBA, PIZZICATO STRINGS, HARP, BRIGHT PIANO-LIKE SYNTH, PADS AND METALLIC PERCUSSION.

23. HARD PROOF D 00:02:38 STRIPPED-BACK UNDERSCORE. BUILDING CUE FOR INVESTIGATION, LIGHT TENSION, DISCOVERY AND FACTUAL PROGRAMMING, FEATURING MARIMBA, HARP, BRIGHT PIANO-LIKE SYNTH AND METALLIC PERCUSSION.

24. HARD PROOF E 00:02:42 AMBIENT UNDERSCORE. MINIMAL CUE FOR INVESTIGATION, LIGHT TENSION, DISCOVERY AND FACTUAL PROGRAMMING, WITH STEADY SYNTH PULSE AND SOFT PADS.

25. HUMAN ERROR A 00:03:02 WARM, BUILDING ORGANIC ELECTRONICA FOR FACTUAL PROGRAMMING, DOCUMENTARY, LIGHT TENSION AND INVESTIGATION, WITH SOFT BELLS, FRAGILE STRINGS, URGENT PIANO, DEEP BASS AND KICK DRUM PULSE.

26. HUMAN ERROR B 00:00:32 COMMERCIAL LENGTH. WARM, BUILDING ORGANIC ELECTRONICA FOR FACTUAL PROGRAMMING, DOCUMENTARY, LIGHT TENSION AND INVESTIGATION, WITH SOFT BELLS, FRAGILE STRINGS, URGENT PIANO, DEEP BASS AND KICK DRUM PULSE.

27. HUMAN ERROR C 00:00:16 COMMERCIAL LENGTH. WARM, BUILDING ORGANIC ELECTRONICA FOR FACTUAL PROGRAMMING, DOCUMENTARY, LIGHT TENSION AND INVESTIGATION, WITH SOFT BELLS, FRAGILE STRINGS, URGENT PIANO, DEEP BASS AND KICK DRUM PULSE.

28. HUMAN ERROR D 00:03:00 UNDERSCORE WITHOUT PIANO LEAD. WARM, BUILDING ORGANIC ELECTRONICA FOR FACTUAL PROGRAMMING, DOCUMENTARY, LIGHT TENSION AND INVESTIGATION, WITH SOFT BELLS, FRAGILE STRINGS, DEEP BASS AND KICK DRUM PULSE.

29. HUMAN ERROR E 00:03:02 UNDERSCORE, PIANO AND STRINGS ONLY. STRIPPED-BACK CUE FOR FACTUAL PROGRAMMING, DOCUMENTARY, LIGHT TENSION AND INVESTIGATION, WITH FRAGILE STRINGS AND REFLECTIVE PIANO ARPEGGIO.

30. HUMAN ERROR F 00:03:01 AMBIENT UNDERSCORE. WARM, BUILDING ORGANIC ELECTRONICA FOR FACTUAL PROGRAMMING, DOCUMENTARY, LIGHT TENSION AND INVESTIGATION, WITH SOFT BELLS, FRAGILE STRINGS AND DEEP BASS.

31. INVESTIGATION PULSE A 00:02:52 LIGHT, EXPANSIVE ORGANIC / ELECTRONIC HYBRID FOR DOCUMENTARY, FACTUAL PROGRAMMING, LIGHT TENSION AND INVESTIGATION, WITH DELICATE HARP, EVOLVING SYNTH PATTERNS, WARM BASS, SOFT STRINGS, PIANO ARPEGGIOS AND MINIMAL PERCUSSION.

32. INVESTIGATION PULSE B 00:00:32 COMMERCIAL LENGTH. LIGHT, EXPANSIVE ORGANIC / ELECTRONIC HYBRID FOR DOCUMENTARY, FACTUAL PROGRAMMING, LIGHT TENSION AND INVESTIGATION, WITH DELICATE HARP, EVOLVING SYNTH PATTERNS, WARM BASS, SOFT STRINGS, PIANO ARPEGGIOS AND MINIMAL PERCUSSION.

33. INVESTIGATION PULSE C 00:00:16 COMMERCIAL LENGTH. LIGHT, EXPANSIVE ORGANIC / ELECTRONIC HYBRID FOR DOCUMENTARY, FACTUAL PROGRAMMING, LIGHT TENSION AND INVESTIGATION, WITH DELICATE HARP, EVOLVING SYNTH PATTERNS, WARM BASS, SOFT STRINGS, PIANO ARPEGGIOS AND MINIMAL PERCUSSION.

34. INVESTIGATION PULSE D 00:02:51 UNDERSCORE WITHOUT HARP LEAD. LIGHT, EXPANSIVE ORGANIC / ELECTRONIC HYBRID FOR DOCUMENTARY, FACTUAL PROGRAMMING, LIGHT TENSION AND INVESTIGATION, WITH EVOLVING SYNTH PATTERNS, WARM BASS, SOFT STRINGS, PIANO ARPEGGIOS AND MINIMAL PERCUSSION.

35. INVESTIGATION PULSE E 00:02:50 UNDERSCORE WITHOUT BASS OR PERCUSSION. LIGHT, EXPANSIVE ORGANIC / ELECTRONIC HYBRID FOR DOCUMENTARY, FACTUAL PROGRAMMING, LIGHT TENSION AND INVESTIGATION, WITH DELICATE HARP, EVOLVING SYNTH PATTERNS, SOFT STRINGS AND PIANO ARPEGGIOS.

36. INVESTIGATION PULSE F 00:02:46 AMBIENT UNDERSCORE. STRIPPED-BACK ORGANIC / ELECTRONIC HYBRID FOR DOCUMENTARY, FACTUAL PROGRAMMING AND INVESTIGATION, WITH SOFT STRINGS AND SYNTH PATTERNS.

37. LIGHT AS AIR A 00:02:06 HOPEFUL BUILDING CUE FOR DOCUMENTARY, CORPORATE AND FACTUAL PROGRAMMING, WITH LIGHT, AIRY GUITAR HARMONICS, REVERSE EFFECTS, PAD SWELLS, SOFT METALLIC MALLETS, MINIMAL PIANO AND RICH BASS.

38. LIGHT AS AIR B 00:00:32 COMMERCIAL LENGTH. HOPEFUL BUILDING CUE FOR DOCUMENTARY, CORPORATE AND FACTUAL PROGRAMMING, WITH LIGHT, AIRY GUITAR HARMONICS, REVERSE EFFECTS, PAD SWELLS, SOFT METALLIC MALLETS, MINIMAL PIANO AND RICH BASS.

39. LIGHT AS AIR C 00:00:16 COMMERCIAL LENGTH. HOPEFUL BUILDING CUE FOR DOCUMENTARY, CORPORATE AND FACTUAL PROGRAMMING, WITH LIGHT, AIRY GUITAR HARMONICS, REVERSE EFFECTS, PAD SWELLS, SOFT METALLIC MALLETS, MINIMAL PIANO AND RICH BASS.

40. LIGHT AS AIR D 00:02:06 UNDERSCORE WITHOUT GUITAR HARMONICS. HOPEFUL BUILDING CUE FOR DOCUMENTARY, CORPORATE AND FACTUAL PROGRAMMING, WITH REVERSE EFFECTS, PAD SWELLS, SOFT METALLIC MALLETS, MINIMAL PIANO AND RICH BASS.

41. LIGHT AS AIR E 00:02:06 UNDERSCORE, MAINLY MALLETS AND GUITAR HARMONICS. HOPEFUL BUILDING CUE FOR DOCUMENTARY, CORPORATE AND FACTUAL PROGRAMMING, WITH LIGHT, AIRY GUITAR HARMONICS, REVERSE EFFECTS AND SOFT METALLIC MALLETS.

42. LIGHT AS AIR F 00:02:06 AMBIENT UNDERSCORE. HOPEFUL BUILDING CUE FOR DOCUMENTARY, CORPORATE AND FACTUAL PROGRAMMING, WITH REVERSE EFFECTS, SUBTLE SYNTH PULSES, MINIMAL METALLIC PERCUSSION AND RICH BASS.

43. LOSS OF TIME A 00:02:29 SUSPENSEFUL PIZZICATO INTRODUCES THIS BUILDING CUE FOR TENSION, TASKING AND INVESTIGATION, WITH INSISTENT ORGANIC PERCUSSION, TICKING, TREMOLO STRING SWELLS, DEEP BASS AND PIANO ARPEGGIOS.

44. LOSS OF TIME B 00:00:32 COMMERCIAL LENGTH. SUSPENSEFUL PIZZICATO INTRODUCES THIS BUILDING CUE FOR TENSION, TASKING AND INVESTIGATION, WITH INSISTENT ORGANIC PERCUSSION, TICKING, TREMOLO STRING SWELLS, DEEP BASS AND PIANO ARPEGGIOS.

45. LOSS OF TIME C 00:00:16 COMMERCIAL LENGTH. SUSPENSEFUL PIZZICATO INTRODUCES THIS BUILDING CUE FOR TENSION, TASKING AND INVESTIGATION, WITH INSISTENT ORGANIC PERCUSSION, TICKING, TREMOLO STRING SWELLS, DEEP BASS AND PIANO ARPEGGIOS.

46. LOSS OF TIME D 00:02:29 STRIPPED-BACK UNDERSCORE. SUSPENSEFUL PIZZICATO INTRODUCES THIS LIGHT, EVOLVING CUE FOR TASKING AND INVESTIGATION, WITH MINIMAL ORGANIC PERCUSSION, TREMOLO STRING SWELLS AND PIANO ARPEGGIOS.

47. LOSS OF TIME E 00:02:29 UNDERSCORE, PIZZICATO, PERCUSSION AND BASS ONLY. SUSPENSEFUL PIZZICATO INTRODUCES THIS MINIMAL CUE FOR TENSION, TASKING AND INVESTIGATION, WITH INSISTENT ORGANIC PERCUSSION, TICKING AND DEEP BASS.

48. LOSS OF TIME F 00:02:29 UNDERSCORE, STRINGS, BASS AND LIGHT PERCUSSION. SUSPENSEFUL PIZZICATO INTRODUCES THIS BUILDING CUE FOR TENSION, TASKING AND INVESTIGATION, WITH MINIMAL PERCUSSION, TREMOLO STRING SWELLS AND DEEP BASS.

49. FACTUAL PULSE A 00:02:34 PULSING ELECTRONIC CUE FOR TENSION, INVESTIGATION AND FACTUAL PROGRAMMING, WITH SOFTLY MODULATING SYNTH ARPEGGIO, LIGHT PIANO, STRING SWELLS, DEEP BASS AND SKITTERING ELECTRONIC PERCUSSION.

50. FACTUAL PULSE B 00:00:32 COMMERCIAL LENGTH. PULSING ELECTRONIC CUE FOR TENSION, INVESTIGATION AND FACTUAL PROGRAMMING, WITH SOFTLY MODULATING SYNTH ARPEGGIO, LIGHT PIANO, STRING SWELLS, DEEP BASS AND SKITTERING ELECTRONIC PERCUSSION.

51. FACTUAL PULSE C 00:00:16 COMMERCIAL LENGTH. PULSING ELECTRONIC CUE FOR TENSION, INVESTIGATION AND FACTUAL PROGRAMMING, WITH SOFTLY MODULATING SYNTH ARPEGGIO, LIGHT PIANO, STRING SWELLS, DEEP BASS AND SKITTERING ELECTRONIC PERCUSSION.

52. FACTUAL PULSE D 00:02:32 UNDERSCORE WITHOUT MAIN SYNTH ARPEGGIO OR PIANO. ATMOSPHERIC ELECTRONIC CUE FOR TENSION, INVESTIGATION AND FACTUAL PROGRAMMING, WITH STRING SWELLS, DEEP BASS AND SKITTERING ELECTRONIC PERCUSSION.

53. FACTUAL PULSE E 00:02:34 STRIPPED-BACK UNDERSCORE. ATMOSPHERIC ELECTRONIC CUE FOR TENSION, INVESTIGATION AND FACTUAL PROGRAMMING, WITH STRING SWELLS, DEEP BASS, SKITTERING ELECTRONIC PERCUSSION AND MINIMAL PIANO.

54. FACTUAL PULSE F 00:02:34 UNDERSCORE WITH PULSES, ARPEGGIOS AND BASS. PULSING ELECTRONIC CUE FOR TENSION, INVESTIGATION AND FACTUAL PROGRAMMING, WITH SOFTLY MODULATING SYNTH ARPEGGIO, SYNTH PULSES AND DEEP BASS.

55. FACTUAL PULSE G 00:02:33 AMBIENT UNDERSCORE. ATMOSPHERIC CUE FOR TENSION, INVESTIGATION AND FACTUAL PROGRAMMING, WITH STRING AND SYNTH SWELLS, DEEP BASS AND MINIMAL PIANO.

56. UNDERCURRENTS A 00:02:27 MINIMALIST HYBRID ORGANIC / ELECTRONIC CUE FOR DOCUMENTARIES, FACTUAL PROGRAMMING, INDUSTRY, COMMUNICATION AND TECHNOLOGY, WITH LAYERS OF PIANO AND SYNTH ARPEGGIOS, DEEP BASS, SOFT PADS AND SPARSE PERCUSSION.

57. UNDERCURRENTS B 00:00:32 COMMERCIAL LENGTH. MINIMALIST HYBRID ORGANIC / ELECTRONIC CUE FOR DOCUMENTARIES, FACTUAL PROGRAMMING, INDUSTRY, COMMUNICATION AND TECHNOLOGY, WITH LAYERS OF PIANO AND SYNTH ARPEGGIOS, DEEP BASS, SOFT PADS AND SPARSE PERCUSSION.

58. UNDERCURRENTS C 00:00:16 COMMERCIAL LENGTH. MINIMALIST HYBRID ORGANIC / ELECTRONIC CUE FOR DOCUMENTARIES, FACTUAL PROGRAMMING, INDUSTRY, COMMUNICATION AND TECHNOLOGY, WITH LAYERS OF PIANO AND SYNTH ARPEGGIOS, DEEP BASS, SOFT PADS AND SPARSE PERCUSSION.

59. UNDERCURRENTS D 00:02:27 STRIPPED-BACK UNDERSCORE. MINIMALIST HYBRID ORGANIC / ELECTRONIC CUE FOR DOCUMENTARIES, FACTUAL PROGRAMMING, INDUSTRY, COMMUNICATION AND TECHNOLOGY, WITH SIMPLE PIANO AND SYNTH ARPEGGIOS, DEEP BASS, SOFT PADS AND SPARSE PERCUSSION.

60. UNDERCURRENTS E 00:02:27 UNDERSCORE, MAIN ARPEGGIOS ONLY. MINIMALIST HYBRID ORGANIC / ELECTRONIC CUE FOR DOCUMENTARIES, FACTUAL PROGRAMMING, INDUSTRY, COMMUNICATION AND TECHNOLOGY, WITH LAYERS OF PIANO AND SYNTH ARPEGGIOS.

61. UNDERCURRENTS F 00:02:27 AMBIENT UNDERSCORE. MINIMALIST HYBRID ORGANIC / ELECTRONIC CUE FOR DOCUMENTARIES, FACTUAL PROGRAMMING, INDUSTRY, COMMUNICATION AND TECHNOLOGY, WITH SWELLING SOFT PADS AND SOFTLY CHIMING BELL ARPEGGIOS.