clean as a kid's plastic pocket whistle
Listening in Window Media Player the song starts instantly, there is no leader, thus the very first note sounds like a choke, that's the only way I can describe it. Gimmie 2 seconds of silence in the beginning please, I believe that is the industry standard, correct me if I'm wrong.
As this is my third listening I'm thinking Arron Copeland, wide open spaces, vistas of mountains and plains, it's breezy. Well mixed, all of the instrument levels. So you listen to Vangelis ? Very tasteful.
Vocal comes in at a perfect level, my preference of course is a little more volume on the vocal, maybe just 1 or 2db higher. There are a few places where there is some competition with her vocal in the beginning. You may never compete with a vocal of this quality, it is unforgivable. If there is any question at all, lower the instruments, don't guess, be conservative with the instruments when approaching her voice on the meters. Watch those meters, don't trust your ears completely.
Your electronic instruments are line-level, she is an acoustic instrument and a very special acoustic instrument.
The keyboard fills in between her phrasing sound a little rumble-crunchy, that keyboard sound sounds kind of like a type of thunder mixed with grand ? I'd make it a little more musical, IMHO.
1:17 that key entry is a touch to loud as it occurs exactly with the beginning of her phrase on the downbeat.
1:26 was perfect level between voice and this keylike instrument on the downbeat, but you could lower it further. It's not really an instrument at this point, it is a rythmic device, a musical tool. She's the music since ya took the banjer out.
The sound you have created for the guitar in the solo is absolutely unique, I've never heard anything quite like it before. It's very noble sounding, like a panning shot up the wall of a castle.
At 2:33 this entrance is the perfect vocal level, I realize she is supporting a bit more here.
At 2:54 the singer is becoming very absorbed in what she is doing and is becoming introspective, she's losing volume here getting very soft, she is waxing emotionally, really feeling what she's doing. Don't bring the vocal up here. start bringing the instruments down around 2:54, as I think you've probably done somewhat already, but make the reduction in the instruments dramatic here, so that that typanny roll can really grab us without stepping on her vocal. You have even more opportunity here than you think to get quiet before the tympanny roll. As far as I'm concerned you could take the instruments out completely during that little section and use it as an accapella section, that would be very, very dramatic. I'm talking about the section from 2:54 to 3:10.
It's clean as a kid's plastic pocket whistle, great job.