Does Pedro know how much we love his music?

It's always easier to love music when it's coupled with an amazing project and with amazing visuals, and with the amazing sound team, and everything looks awesome. So it's a bit unfair. There are a lot of talented folks around the world that didn't have the luxury I had of working on such an amazing project. But it gives us responsibility, which I actually love. I love pressure. I work much better under pressure than with any other method.

But one thing is for sure, and I should have mentioned it before, but I'll take this chance to mention it, which is very important: throughout the process of making the music of Star Citizen, I've never been alone, ever. There have been a lot of talented people that have worked with me and helped me a lot to get through, and to give me ideas and insight. Not only, obviously, Chris Roberts, because in a way this project is his child, so he knows what he wants, and he always has a word to say, and I love his insights. He's like a living encyclopedia of movie soundtracks and classical music. He knows a lot, so he's someone whose feedback you care about. So that's a very good thing. And that benefited Star Citizen a lot, because he knew what he wanted and he knew how to articulate what he wanted with me. And that helped.

Other people I have to mention, and I'll go in backwards order from the most recent: there's the audio director, which is Darren Lambourne. He's a super talented composer as well, and also a talented musician. And he helped me a lot through this process, New Babbage in particular. I'll specifically mention this track that I showed you. I didn't have the orchestral percussion initially, which was actually his idea. My music was a bit more electronica. And he said, Pedro, you're forgetting the orchestral percussion side. You have to try to give it a bit more. And I was so under pressure at that time. I said, oh my goodness, I have to revise this track. But I made the revision. And actually, he was right. After some months, he heard the version I did and the version after his comment, and it was definitely better as he commented. So if I didn't have that extra pair of ears, that would have been absolutely impossible.

Another person I have to mention, who is still working with us, thankfully, is Phil Peers-Smallwood. Hi, Phil. He was absolutely great during the whole process. Not only New Babbage; in all the CitizenCons, which is always a time where I've happened to compose a lot of music, he is my side man. I don't like considering myself a Maverick, but if I was going to be Maverick, I would be nothing without Goose beside me. You need a co-pilot to be with you sometimes, just saying, don't worry, we've got your back. Even if this music comes a bit later, we will find a way to place it to make you sound good. It makes you feel more relaxed. It gives you insight, gives you ideas. Just like in a movie, and I've worked on a lot of commercials with a lot of directors, and a game in particular is even more so, I think: there's a lot of teamwork. Also, the implementation is great. I'm grateful that the music was very well implemented in the game. Otherwise, if it was placed at a wrong moment in the game, it wouldn't sound any good.

And there are many other people that came before them, like Ross Tregenza, who was also a great guy, Lee Banyard. He was like the person that had the role of Phil now. It was great to work with him as well. Also, there's Luke, who at some point played guitar for me. He was great. The whole team is important for you to make any great music. So if I was alone, you would not love me. Only with this team is it possible. That's how I feel. I'm not saying this just because it looks good or feels good, or because it's the usual thing people say. This is actually real stuff that's happening in the project. So thankful for the team. Thank you.