Hi Andrew Thanks, I did enjoy these and they're quite nicely done. I think I'd echo many of Julien's thoughts though to make them even better. I'm not at all keen on the drums in Adventa: I was taken back to my school days and the sound of footballs or basketballs being unleashed in the gym for games or PE :-( I don't know what your approach to reverb is. If you're just using one reverb for everything, I'd suggest trying compression and some low pass filtering on the kit's send to the reverb, to calm the rampant early reflections which are almost drowning the source. Maybe adding a touch of delay on the send would help distance the early reflections a bit to make the source stand out a little more. If you're using separate reverbs for each section I'd consider changing the 'verb and/or compressing and LPFing the drums. If it's a question of distance, you could put a very short (sub-1 second) ambience reverb on the kit to push it back and then use rather less of the main 'verb for a sense of space. If you really want to achieve a sense of realism -- that this is an orchestra recording -- I'd consider moving the woodwind from panned hardish right to somewhere a bit more central but in front of the brass where depth is concerned. I like the second piece better, I think because of its slightly darker atmosphere (but that's just the way I like things) and the arrangement sounds a little better. Again, I would have had the woodwind in the centre, but that's just a matter of taste. All the staccato phrases jarred a bit with me. On the first listen they sounded a little bit too, hmm, almost perfect, as if all the notes are exactly the same length. A bit of humanisation on that front, or even just put a few legato notes in the middle of each phrase might help. I was thinking just a couple of notes here and there -- you have a nice contrast between the staccato phrases and the legato ones played by other instruments and you wouldn't want to dim that contrast. I do really like the clarinet part -- I love clarinets, beautiful timbre. I think you could develop the part, maybe begin with much more sparse staccato notes to lead into the existing part to allow the clarinets to languish a while longer. The thought has just struck me that it's not dissimilar to some of the stuff by the Hungarian orchestral prog band After Crying on their album Megalazottak Es Megszomoritottak, which is great stuff. Sorry for rambling, but thanks for sharing. Q Andrew C wrote: