A great production.
The only thing I can hear that would make it better is to thin the voicings on the piano, and open the chords by raising the one or two lower notes up an octave during the thick, orchestrated passages. Open the gospelly triads, n' such. The midrange , and closed chords [1,3,5,1,3,5, etc...rather than droped, open triads like 1,5,3 or 3,1,5 etc] on the piano comp is causing a belly-mash with itself, and the orchestrations....about an octave up from the string bass...and an octave down from a lot of the orchestra. The easy way, I think, would be to envelope the piano and withdraw the level several db where the mix thickens.....like with an
acoustic guitar that can swallow everything in an ensemble mix....
The texture in the orchestration verges on sounding like distorted electric guitars in chorus.....so many overlapping notes and tight voices.....it loses the detail inherent in each of the contributing instruments and sections. I think the piano is the culprit. It's hard to distinguish any line or theme being played by a specific instrument....FWWIW. [and I've re-learned this old lesson in some of my own attempts with a slave e-orchestra with no fatigues or taste, other than what I can impart..]
But, then I've always been more moved by smaller ensembles of strings, etc.
The extremes being something like a quartet, as opposed to a full symphony: the impact of the music is sometimes an inverse proportion to the number of instruments playing it....atleast where the thickness lasts as long as this piece's does.
Maybe a little pruning?? Your call. It's very good as it is. Just offering my POV to see if it's what you need to get it to a higher level...if that's possible....and it addresses some of the other comments about midbulge, etc.
