1.6:
I think you could get a lot more impact from the strings between the bass drum part by adding some very low sounds [add the same line in the sequencer a couple octaves down]. Otherwise, all the instruments sound in a constricted range. Make the hall shake a bit...like a church pipe-organ does. Rocks the emotions.
Also, it would be even more effective is the string section was pinging off a 'wall' opposite their origin. I'd try adding a mild slapback verb over what you got, and panning it hard on the other side, to define the 'concert hall'.
There's a strange 'overhang' on the bass drum sound...don't know if it's in the program, or the result of clipping? And I'd try a few other bass sounds with more belly. Tighter bass drum decay; mo belly in the bass. [if there's any there at all.
1.8:
the claps are way much...but there's bass to be heard...and the bass drum sounds a lot better.
If you're going to use a lot of string section, I'd work on trying some other software...or building the section one midi instrument at a time...contrabass through violin....recorded to audio seperately, then mixed down to one or two tracks, to scramble the in-unison modulations of the entire section recorded all at once.. makes it sound more 'real'. And I'd record them to audio dry, and apply reverbs tailored to fit the mix.
One thing that would make the comps a bit better is some more melodic invention. Like that clav part in the first cut..the scales from root to fifth...over and over....doesn't 'sing' the way it could....not interesting after a couple cycles.
