Opens up with some uncanny valley orchestration that sounds... aight. There's effects on everything to give it some depth and mitigate the realism issues, though it's not enough to prevent lack of realism from standing out as soon as this started.
Hard to articulate but at 1:07 when it transitioned into the more grandiose texture with these high strings, the volume was too quiet for the energy of the part-writing, if that makes any sense; obviously, this shouldn't be clipping, and I'm not saying "just turn the knob one higher", because it's actually pretty shrill. But something about the layering of the parts should have been fuller and more cohesive. The high strings were always very exposed as being a sample, but the articulation around 1:10 was the worst offender. A little better texture at 1:32, though it's pretty muddy until 1:39. Something about the way the strings at 1:45 and winds at 1:51 were produced made them feel like they weren't in the same room, even though I hear the stereo placement being different; again, difficult for me to articulate. There's some sort of light pop at 1:59 that needs to be eliminated as well.
The bar isn't "now, go find some live players!", and this possibly could have passed like this 20 years ago. That said, I do wonder how much this could be improved to humanize these sounds and make the textures less shrill, more cohesive, and with more realistic ambiance, because that's the real hangup for me, not the arrangement, which in a vacuum is fine, no problem with it. Needs some more finesse with these samples, Pipko, but it's a good concept. For something so short, this needs to be closer to firing on all cylinders.
NO (resubmit)