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Wrote a short piece. Hope u enjoy.

Ah well, I'll keep it simple. Very enjoyable and quite an accomplishment with the poem. There is scope for technical refinement - as you might already be aware but the result is very pleasing and bright of mood - and optimism (particularly reflecting the last verse of your poem). It has an exhilarating atmosphere. Perhaps the clarity could be improved by fading down a few channels very slightly. I won't comment on your score. AngelCityOutlaw is in a far better position to comment on guitars and style. Except to say the written last bar didn't quite match what I heard in that there was some gentle movement as it wound down. The drumming seemed ok to me listening to the piece as a whole. As you observed yourself, you don't need it to intrude. Great, then. Easy to listen to.

So my initial thoughts between listening and looking at the score: • The mix is much too left-heavy • The guitar and bass writing is not really very idiomatic. I think what's happening here is that the style of writing for orchestral samples that has emerged in the last 20 years is making itself known here and it doesn't work. A bass player and rhythm guitarist would not play most any of those notes staccato. It would sound very strange, and on a distorted guitar, quite noisy and sloppy even with an aggressive gate. • I would personally not use rhythm guitar on a track like this at all. The vibe of this piece is a lot more upbeat than most rockband/orchestra combos and makes it sound kind of cheesy when you thrown in a distorted guitar. Kind of like how a metal arrangement of Mary had a little lamb or the ET flying theme would sound more comical than anything. • Eliminating the rhythm guitar would free up much of the overtone series in the low-end to allow your bassline to have much more movement and be much more interesting than pretty much steady eighth notes. • If you do keep the rhythm guitars and you don't have any VSTs or IRL guitarists, you can make this render sound better if you set one channel to dist. guitar and another to "overdriven guitar", copy and paste so both tracks are identical, and then pan one hard left and the other hard right. I would also make it so that they aren't playing just powerchords. Throw in single-note palm mutes to match the bass, for example. Or maybe throw in left-hand mutes where there are rests. Essentially, you could make the bassline stand on its own and be much more interesting, with much more movement, and the guitar doubles it an octave above. • The more "lead" guitar part that you have written, especially on a real guitar, will sound quite bad tbh. The reason is, it is mostly a steady rhythm that keeps time and allows for very little room for vibrato and string bends. Without which, the electric guitar even of the most expensive setups tends to sound like a swarm of bees in a tin can. • The drums definitely need more snare, to hit harder, more fills and variation Those are my initial thoughts and tips, but I think you're still on the right path. Orchestral winds + rock band is an unusual but interesting combination that could really stand out with more polish IMO

Wow! This is awesome, totally vibes for a video game soundtrack. I think you found a voice in this style, I love the blend of rock band with orchestral instruments. Too often I hear this mix not work so well, but it sounds like your studies have been paying off, and possibly even a break from composing to hone in on your own personal style served you well. Some things I noticed: - The orchestration is pretty dense overall. You already have plenty of material, so maybe make some sections with just strings, some with just guitars, etc. I know you know about this kind of thing. Give the instruments some interplay. Power chords in the guitars all throughout can be overbearing as well. - Keep exploring what the drum kit can do! A simple snare on beats 2 and 4 would have given this some punch imo, and that's an easy fix. I like the fills and what not, and I know the drums aren't at the forefront, AND I know it's a pain in the donkey to write for drums on staff paper. But keep studying up on what it can do; it's the one instrument I'm constantly conferring with a drummer on when I write for it. - Guitar writing seems pretty good, I'd maybe stick the F# in that last chord to fill out the bar chord, but that's pretty minor. I like that line right before it a lot. Just fyi, I'd notate when you want parts to ring out. The line before the last chord I mentioned sounds really good when I let it ring. - I wasn't too keen on the constant bass staccato notes throughout the piece, but maybe that's just preference. I like the driving rhythm you have, but maybe a bit more variation in that line (even if it's just adding a rest on certain beats). These were just my initial impressions. You kinda blew me away with how well you've improved since I heard some of your music. I honestly believe you have a talent for this style of writing, and as you progress with getting your sound samples more polished and figured out, I wouldn't be surprised if some game company snatched your skills up once you make a press kit. I forgot to comment on your other new-ish piece, I did check it out though. Again, sounds great, just watch those 7 note guitar chords (last chord in Perilous Crossing)

The final moments of Sibelius' 7th. The gentle swells and the ultimate release are just so tranquil and moving, like slipping into the embrace of the next life.