NGADM Feedback Request
Your entries was one of the ones which did score above an 80-average, so my feedback here is mainly going to be the specific nitpicks to keep in mind if you're approaching a similar project in the future.
- From a mix perspective, I've personally found that the piano sounds like it's being brought too far forward in the centre of the soundstage and could do with moving further back, either from decreasing your close-signal, or remodelling how it sits in the soundstage with a positoning toolset such as dearVR Music/Pro (in stereo output instead of binaural!). There's also a situation with too much of a 'robotic' brass output to the left of the soundstage after 2:25, which I'd assume would be from a TM Pro ran Kontakt patch with speed control? If so, speeding it up abit should help eliminate that issue. Volume automation around 2:35 on the staccato strings to boost their gain upwards by an extra 1.0 to 1.5db would also be beneficial.
- From a 'Production Elements' perspective, the main nag would be the seemingly inconsistent reverb response/tails when it comes to certain sections and articulations playing. The staccato strings from my end when played back, seem to be drier than the rest of the string ensemble. The main staccato/staccatissimo brass parts aswell (along with the short arcs) also seem to suffer from being dry compared to everything else. My #1 piece of advice in this scenario would be to reapproach *all* of your libraries, strip their built-in reverb down to 0, and then insert your own quality reverb plugin onto every single mixer channel, model a hall/chamber enviroment, and then use that as the baseline preset for everything, followed by fine-tweaking the wet/dry and tails according to how close/far the perceived audience would be from each section of the orchestra (but make sure it's fine-adjustments only!). It's alot of extra work, but worth it once you've got reverb consistency!
- Atmosphere-crafting and Design choices are 'fine-to-decent', but one way to boost it further in this kind of project is to bring some more woodwinds into it, they're not to be underestimated and a few good legato flute lines towards the lower registry and even some single/double staccato burst rythmns within a few minutes of effort can make alot of difference, and potentially land you a tangibly higher score! They also in a traditional orchestral arrangement help fill up the center of the soundstage, which is something this track is fairly lacking in, so it's worth setting some extra time aside to plan out how you want to approach your inclusion of winds (either in a 'leading' role in smaller sections, or supporting rythmns/arcs/bursts/legato's in busier sections)
NoStereo 
