Hello, I'm here to answer your questions about Spyro. Let's see what we got here. Where did you draw inspiration from when composing and selecting instrumentation? Well, I had basically the rock band. I had a guitar just play power chords, changing and a basic rock drum set, kick snare high hat, and a hammered organ and a pumping bass. Those were the basic rock elements, which I augmented with samples from the distorted reality sample library, which was the cool sample library of the day. I'm sure they got whole new ones now. And so I had your basic rock instruments with this other cool atmospheric stuff to go with it, depending on the vibe of the level. Let's see. Next, we have what would you have done differently in Spyro's soundtrack if you had the technology of today back in 1998? No, I wouldn't have done anything differently. Actually, I think the samples that they use that are available today have higher resolution so that there's a little more sizzle on the high hats, a little more oaf in the low end, and just generally higher grade sound. But actually, Mario was done with like eight-bit technology, really just squeaky little sounds, and it's a testament to the composer that he was able to create great music with such uninspiring sounds, because a lot of composition comes from the inspiration of the sounds that you're working with. And I found sounds for Spyro that turned to be on, got my juices going. And so today, I guess, these are better versions of the same sounds, but the tunes, the bass lines, the riffs, the little three note tricks, and then, then, then, then, then. I would probably write it exactly the same today. As I did back then. What was the most challenging track to come up with? Hard to say, because they were all so much fun. I'd be there working away, basically, playing the game. Don't disturb you while I'm working, as I'm just sort of trying to jump from this castle over that to that cloud or whatever. That was real play as work situation there, and the tunes just kept coming. I would generally do about three a day, very quickly, and then the next day, I would finish them. So I guess that's three tunes over two days, and just churn and burn and churn and burn, because there was just so much of it. It was like having to do a quadruple album of backing tracks every summer for four years. When you were working on it, did you know the impact Spyro OST would make on the world? No, actually after the first year, it had already made an impression. But when you're working on something like a new album or something, you have no idea that you're working on dark side of the moon, or help, or, you know, one of the bridge over trouble. You have no idea, as you're making it, that it's going to make such an impact. You're optimistic. You kind of hope it does. And when you're listening to that playback, you think, ah, this is going to conquer the world. Of course it is. But you don't know. And so it's very gratifying to this little game. It's a fun little game. About a pink dragon actually did take the world and is still blazing, literally. What, 20, 30 years later? That dragon never quits. Okay, now these questions are from Instagram. What is your favorite memory of making music for the original games? Playing the game. Oh, actually no. The best part was not just playing the game in my studio when I was coming up with the tunes, but playing the game at home with my family. It was like an old 50s sitcom where the Copeland family, all the children of which there are many, gathered around the family screen. And there's the eldest Patrick on the controls and all of his little siblings all with us and watching. And they're all playing the game. Pick up the thing, drop the thing, take a left, take a right, jump over there, jump over here. And they're all playing the game. Accompanyed by daddy's music, which left an imprint on all of them. And whenever my children think about me, they probably think about those spiro riffs. And so I would say my favorite experience of the whole thing was playing the game like you played it all with my family. What was your favorite world to make music for? I'm not even sure. There was, because I can't remember the names of any of them. You know, I would write the music for this level, but they would use it on that level. And so all of my names of all the different tunes are, I ran through all the names of my pets, children, houses, address, you know, eventually I'd call, you know, one of my favorite tracks was called Potato, avocado, carrot, you know, I just think, you know, because I'd become up with so many, so fast. I got to open up a new file. What am I going to call it? Garbanzo, no, that's too many letters. Okay, beam. Okay, beam is a track.