Where did all the time go - Orchestration

This is one of my first orchestrations, and I would really like some feedback.

"Where did all the time go?" is an emotional, mentally exposing, orchestrated piece meant to connect with everyone. The story behind this piece is to represent how priceless time is and how time flies by so fast, and we sometimes never take the time to enjoy it. It reflects our lives—from our first steps to the defining milestones of maturity. This composition demands total emotional transparency from the performer; the music flourishes only when the performer fully commits to that emotional truth. Throughout the score, recurring motifs serve as a narrative engine, guiding the listener through the distinct and shifting phases of a life well-lived.

Where did all the time go

Hi Sam,

The first problem I notice with this, is a technical one.

It sounds like you have your master level set too high in the mixer, and it's causing a lot of peak level distortion.

There's also quite a lot of octave doubling across the orchestra.

This is notorious for causing distortion, because the instrument libraries are artificially adjusted to be perfectly in tune. So you get lots of frequency build up that you wouldn't have in a real orchestra.

Some more expensive libraries allow random detaining, which helps circumvent this problem.

Octave doubling is something forbidden in strict counterpoint, because it sounds weak. So it's probably best avoided where possible. (I'm being a bit of hypocrite here, because I've made exactly the same mistake in the latest piece I've posted!)

Anyway, hope that helps a little.

Alex

Hello

It’s quite a pleasant piece.

But I agree.

There’s some technical issue I’m not aware of, but it all sounds very unbalanced.

On another note, I don’t know what your background or training is. But I think there are certain pitfalls we all fall into when we’re beginners (and even until we’ve gained enough experience).

And that is: we put a large orchestra on paper (or screen) and think that by filling it up as much as possible, we’re orchestrating.

But that’s not how it works.

I think your first orchestrations should be with small, chamber orchestras.