Ok, I will not comment the whole track (the post would be like 5 pages long), but the a part of the track and the comments I will do here but will apply to your whole track because they are general things I will mention.
1. Your intro Run:
1. It misses definition and slur. By definition I mean you still need to hear those accented shorter notes by slur I mean you need to hear that the transitions start to sound slight of out tune and that they have this kind of fuzz. How to achieve that? Use not that legato patches alone. Use Spiccato articulations playing at quite dynamics, use slurred articulations on the Vloas more prominently because the Vloas is the glue from the CB / DB to the Bassoon. Where is your bassson? The bassoon is here important for the color imprint of that run. Listen to your run and then to my run. In my run you can clearly make out the bassoon as the coloring counterpart instrument. Those things which I mentioned for the strings here applies also for the bassoon. Your whole run doesn´t work at all because it is to clean, too even and it misses the single note punctuations which comes from the rebowing from the strings (retonging from the winds).
2. Next part
Your winds pop in and they don´t sing. They are flat dead there. Put more love into the CC1 and really think of like a woman you adore and that you want to flirt with her using those winds. They need a musical swell and more vibrato and a natural short descrescendo. Another point: Your passing notes are almost inaudible but they are crucial for the melodic frame there. (7 seconds). These are details of course but they are important in such piece. Use for that situations shorter articulations like a short portato or a normal short aritculation and layer them there. Those passing notes need definition. Also the orchestration and timbre there is wrong. First time Focus is Oboes, second time Flutes stacked with Clarinettes. Your second time is still Oboe focus which is not authentic.
3. Your loud tutti String part
Your Violins doing the divisi leading line are too long, they don´t swell, they have no accent, they just are dead flat out straight without a decrescendo, they have no audible gaps.So, to better them: Use an accented molto vibrato patch OR if you not able. Take your most expressivo Violin patch available layer a short articulation over it to pronounce the note. Ride a controller curve with a short swell to maximum with a followed drescendo. Make short pauses. Shorten release times because otherwise the soup with blur too much.
Your second part of the theme needs much shorter notes, some kind spiccatissimo articulations with shorten release times. Otherwise like in your example you have "mush" again.
Your timpani is total unmusical and too loud, it is like the guy at the timpani thinks: You know what I have my own concert here. The timings of the timpani ARE NOT on the grid they need to accent the musical violin crescendo, they need to emphasize that. Your timpani needs to be quiter in timbre and timed a bit later.
Ok, apply those things to your other parts I am pretty sure you can improve those things in your mockup.
And don´t get me wrong: I appreciate that you posted your mockup here and I encourage others to do so as well. You can only learn when sharing your experience.
One last general idea or tip: Work with your ears and not with what the developer tells you to do. So when you feel that the legato or whatever patch doesn´t work good, shit on that and take another patch.
In the end it doesn´t matter what you use,
it only matters that it sounds good in the end.
man, the woodwinds just sound fantastic... you are gonna make me buy Berlin Woodwinds Alexander!!!
. Like normally I like a big sound but here for me it could be a little bit dryer
