Judges had different things to say, but none of them criticized what I specifically think is the weak point of the arrangement, which is the rock-solid, very quantized nature of the performances and specifically the perpetually unchanging tempo - at just over six minutes, and at a very deliberate pacing to begin with, I'd really like to have seen a cadenza or two or some accelerando and ritardando employed. Hopefully, it's at a level worth listening to.' He kept challenging me to go back and make it better. Robson, I wouldn't have a complete piece. However, if it weren't for the gracious consultation of Mr. Kenneth writes: 'Through much reworking in instrumentation, expression, dynamics, and stereo positioning, - I'm, once again, hoping this is the last time I say this - I feel I have a finished piece.

This final, accepted revision ups the production ante by utilizing Garritan Personal Orchestra, and throughout the piece's lifecycle it's beneffitted from both panel input and some constructive criticism from Jeremy Robson, so it's been a long time coming. Abadoss has been around a good long while, so most of us knew the name when he first submitted this CT orchestral arrangement, and while the initial cut didn't quite make the grade, it was still fairly impressive and cool to see someone who'd been involved with the community for a sizable chunk of time take a swing at finally submitting a mix and come up with something admirable.

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