OK…
Hey @Neurodriven, amazing playing!
I moved your video here where I think it will work best. If you feel like adding some comments on the techniques used that would be great and beneficial for many of us!
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I am mosty using alternate picking. There is some sweep-picking in there, in the arpeggios at the beginning and then in the C major - G major sequence halfway through.
For classical pieces sweep-picking is barely useful. The gaps between the notes force you to employ strict alternate picking.
This is another example, a piece of Saint-Saens:
Both of these videos are awesome! Looks like USX with a pretty apparent downward slant. Have you always used these movements? If so, did CTC change anything for you (awareness etc)?
Just curious. Again, excellent playing and thanks for sharing with us!
USX stands for? I have yet to get acquainted with all the abbreviations employed here 
I think my right-hand technique has been pretty much the same for a long time. It’s my left hand that I focus the most these days.
CTC did make me analyze why certain things are harder for some guitarists. Things such as scales and arpeggios. It has helped me help my students figure out why they can’t play a given lick.
Thanks for your feedback on my playing 
Yes I have requested a ‘sticky’ thread where all the abbreviations and terminology are defined. USX means upward escape, meaning all of your upstrokes break free of the plane of the strings, positioning you to efficiently change to a new string. This means when changing strings your last stroke on a given string is an upstroke. Then your pick is slightly elevated and can smoothly start a new string on a downstroke. It’s the Yngwie system. You appear to do this intuitively much like Yngwie, because you slant your pick downward
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Fantastic playing and arrangement; did you transpose it yourself?
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USXshred is going to be my new nick on online chat clients
Yes, I learned the music using the original sheet score for the violin. Tabs are not very reliable when it comes to classical pieces.
Here’s yet another example of alternate picking as applied to the Coda in Saint-Saens’ “Introduction et Rondo capriccioso”:
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