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Hey Aesthete18! Maybe it's late, but I would like to add three things: > If you have the opportunity to ask a conductor about volume and balance, he/she will be able to give advice. Conductors are always "mixing" - so to say - those instruments when performing in different acoustic spaces without any electronic or digital aid. > Find some record with the same instruments and with the kind of sound you want to achieve. Use it as a reference, comparing with your mix. > It seems your music is all acoustic, maybe in a classic style, and it wouldn't be mixed as for example pop music. Try to do as little as possible as to effects. ( Regarding EQ's is best to only decrease on some frequencies which are disturbing.) I wish you all success in your composing/producing!

I think some things in a composition can be attributed to a composer's personality. Haydn liked practical jokes and, sure enough, there are plenty of those in his output ranging from the obvious to the very subtle. Bach's religiousity is evident in several features of his compositions, as is Bruckner's and Messian's, manifested in different forms. Puccini's liking for fine living is reflected in the luscious orchestration and expressive vocal writing in his opera. Composers who are also expert performers will demonstrate a particular approach to writing based on their ideas as a soloist. We can't attribute everything to a certain personality trait, indeed there are many aspects of composers' techniques that often seem to contradict their personal characters, but neither can we ignore it. With regards to myself, I see several traits I am aware of in many of my compositions and in the process of writing them. A meticulous approach to some areas (orchestration, interpretative markings) is tempered by a tendancy to rush into an important moment too quickly and to have to go back and flesh out the approach to make it more effective. Another is my vital need for the parts to be interesting for everybody concerned. I can't stand anything cliched or predictable, and so I try never to write a boring, unimaginative, disposible or thoughtless passage for any of my performers. I think a certain intellectualism manifests itself in the amount of counterpoint I try and incorporate into a piece, and also that I like to end works quietly, so the listener is guided towards contemplation about what has been presented and not just made to acknowledge the end. This in turn is tempered by a need for drama and dramatic contrasts.