I'm blown away by how clean this is. Excellent job done. Great cover. It was a nice little surprise when I realized this was some PX9. Keep it up!
:D

Name is everything, when its the only thing the viewer sees before clicking on it in the audio portal.
This would have had gazillion more views if you named it properly.

What is the point in naming chaoz fantasy differently anyway? When people are going to hear chaoz fantasy anyway?

Makes me wanna cry... Well, kind of.
Actually, as sleepFacingWest said, i can imagine a story being told ;u;
GREAAAATT

This is a really nice version. I can hear a story you're telling with the progression which is, I feel, always important no matter what type of music you're making. You have good sensibilities when it comes to orchestration (how to layer instruments). You had mentioned having trouble getting things to blend and fill space on the review you did for me. Here are some suggestions - I apologize in advance for all the huffing and puffing I'm about to do, but these are a few things I've learned along the way that I've found helpful.

There are a few things you can try to make this "pop" more. The instruments in general are a little flat. No matter if it's a percussionist, brass, woodwind, or string player, instrumentalists will never play a note with a flat even tone or, what's more, play a sequence of them that are precisely the same. Even if it was humanly possible, a good instrumentalist will try to shape a line to help mold phrases and highlight nuance of the music. In digital production you sort of have to fake this. If you have a keyboard, go back over some of these lines and try to add some swells to each of the instruments using the mod wheel. Different instruments react to different CC values, but typically you'll see either CC1 (modwheel) or CC11(expression) control variance in the timbre and/or volume of the instrument. If the instruments don't react to this, CC7(volume) is a way to brute force this, but it might sound a little unnatural. If you can't use an actual wheel or slider, you can mouse these events into the automation. A lot of times I'll rough in the shape of the line with a hardware controller, then go back and refine or sometimes completely change something with the mouse.

You could also try tossing some of the instruments into a room. Experiment with impulse reverb. You can push instruments forward or backwards in the virtual space by subtly mixing the wet/dry of each instrumental section. You can also adjust for samples to make them sound better. For example, in a full orchestra, the string section is HUGE so the sound of pizzicato strings is going to come from a bigger area than the french horns which are a little more localized in comparison. You can use the reverb to help diffuse the sound a bit.

I'd suggest taking a few bars of something that was played by real instruments and transcribing those parts into your DAW using virtual instruments. Then go back and forth between your mix and the recording and try to get your instruments to sound as close to the recording as you can. It will never sound exactly the same but you'll learn a lot of tricks to make your software sound more human. You'll also start keying in on really detail oriented production techniques. As an added bonus, it'll be like a crash course in orchestration. Seriously, I've studied a ton of music theory and composition, but I've learned more practical tricks for effective arrangement by pulling scores apart by ear and trying to recreate some of my favorite parts.

Phew! I hope some of this helps. It really does sound great! You have incredible instincts, and I really like hearing the direction you took this piece. It's already in a ridiculously awesome place. Trying out a few of these ideas might help with future projects - or maybe not! I just suggest things I'd want to hear if I was working on a similar project, but in the end you decide what to take and what to discard.