There's been a lot of comments about the mix, Guy, from far more skilled operators than I, and Miklos's point about developing the whole 'picture' resonates with me too, as i struggle to further develop some sort of mix and engineering skills to get the whole aural image as i perceive it.
So I'll merely say, from an orchestrative and musical sense, that this is another example of fine work from you. The orchestrative choices you make are excellent, and i enjoy what is an interesting perspective from a lot of work you've posted here. The theme and variation is thoroughly interesting, and you cleverly and surely avoid the common trap of monotonous repetition to 'fill frames.' The sudden piano phrase, for just one example, is damn near perfect, neither too long or short, and you've finished with it, stepping back into the main theme, at just the right moment. There's a well worn old saying in theatre work particularly.
'Timing is everything.'
You've got this bit well and truly covered, and most importantly, i can 'visualise' what's happening from the pace, and orchestrative statements you make. Your creative thematic development is outstanding in my humble opinion, and does you credit. Great imagination, Guy.
It's only my observation, but from a musical perspective, this is probably one of the finest demos you've done, and although, as you know, i'm an admirer of your work in general, objectively, Miklos is right.
It's more than time for you to get on with a big film project, and put what are wonderful and mature skills to good use. (I'm still listening to the fine clarinet work you did in a previous piece. Outstanding stuff.)
Another esteemed colleague, Dave Connor, made the point about how well the tone of the piano fits in the mix. I thoroughly agree with his observation. It's just right.
My continued admiration and respect,
Alex.
