Bowlerhat

Darn, this is slick. Very impressive work!!

I'm not a multi instrumentalist anymore.
I used to play actively Horn, Trumpet, Trombone, Bass Trombone, Clarinet, Saxophone, Flute, some piano, Bass, and guitar, although I have performed on virtually every wind instrument at some point or another.
My process went something like this:
Started horn in 6th grade band, was very bored with it because horn players don't play real music until high school.  Since I was bored, I got a trumpet and started learning that.  Stuck with both trumpet and horn for a few years, then I learned trombones.  I kind of took a shortcut, doing the British thing and learning treble clef Bb trombone.  Trumpet and trombone use mostly the same positions/valves, so the learning curve was nonexistent.  Just had to learn where the slide positions were.  Later that turned to treble clef euphonium and tuba, which all use the same fingerings as trumpet.  This whole time, I also cheated and used the same embouchure for all the brass instruments.  I didn't sound like a professional, but I was in high school and sounded good enough on horn which was my primary instrument.  Total time spent learning all the brass instruments?  Not very long.  I never actually practiced euphonium or tuba, I could just pick them up and play them because of how similar they are to the other brasses.
While this was happening, I got a guitar and a keyboard for different Christmases.  This meant I had two guitars now and an electric keyboard.  One of the guitars I already had, it was a family instrument.  So I used the new guitar to actually learn the instrument, and the old guitar I tuned down an octave and played it like a bass.  I learned both at the same time.  The piano I learned to read chord changes, but not actual piano sheet music.  For what I was doing that was perfectly fine, since I played in a Christian praise team that only read chord changes.  That was the extent of those instruments, and I haven't really ever gone back.  I can read guitar and bass music, but never have any times where I actually need to play them anymore, since nobody asks me (there are real guitar and bass players out there).  Piano I occasionally play in jazz combos and at churches, so it's a viable source of playing experience and income.
The woodwinds I learned over the course of years.  I learned saxophone and flute at the same time because of a long story I won't get into here where I couldn't play brass instruments for 6 months.  I borrowed a flute and alto sax and learned those somewhat proficiently, and the rest of the woodwinds were easy enough to learn because the fingerings are similar.  Except oboe and bassoon.  Those instruments make sense in a very different way.  I haven't played the woodwinds in a performance in years.  Again, there are real players of those instruments everywhere.  I did play them a lot while teaching, and that was to model a good sound and technique for the kids.  But if I had to pick up a flute or clarinet for a performance, I am reasonably certain I can still do it, because I've kept fresh on fingerings while composing and teaching and the sound will come back with a little bit of practice.

The whole time I was in college, the horn professor begged me to stop playing the other instruments.  I was playing both trombones in the jazz bands, as well as trumpet for gigs, bassoon and clarinet in the reading band, and horn everywhere else.  Then one lesson at the start of a semester I played really badly on horn (I had just gotten done playing trumpet in the jazz band, and ran down the hall to my horn lesson).  The lesson was over at that point, and in a very nice way I was told, either you can keep playing all the instruments and sucking at your primary, or you can focus your work and actually be a good horn player.  I was threatened to be kicked out of the studio because I was actually getting worse at horn.  I had my own horn, which was bout $10000, and I didn't want to waste all that since I couldn't afford to do anything else, so I stopped doing everything else after that semester.
Tl;Dr
You can be a multi instrumentalist and be good at it.  Part of it is being efficient and practicing solid fundamentals that carry over to other instruments.  You aren't going to have the same problems for all instruments.  If you practice bass, your drumming isn't going to get worse for any other reason than you're not practicing your drumming.  With brass instruments, like in my case, trumpet playing messes with horn playing because of not practicing horn and because of the difference in embouchure. 
You are right though, now is the best time for you to learn these things, since you have time and don't have to worry about money.
But you also have to pace yourself.  You're trying to do too much.  You can't learn all the instruments to the level you want to learn them to at the same time.  You will exhaust yourself.  If you learn a few of them well, with solid fundamentals, then gradually add more to your arsenal, you'll have a much more pleasant experience.

i don't sleep. 

I legit find it hilarious that a user named Cole Train didn't immediately listen to a jazz album. Just a tasty bit of irony to that, I think.
The album as a whole is pretty damn great, by the way - it all comes together in a nice, jazz'd up package that never really breaks the overall atmosphere. If you like jazz, regardless of your feelings about the game music itself, you'll enjoy this album a whole lot. It's rich, the improv is great and overall the performances are tight.
I mean, if you like Chronotrigger you'll love this album, too, but that almost goes without saying, at this point.

This is amazing. I'm definitely up for this. I can read sheets, I've sung in choirs before, I'm a tenor and I also have experience with and a passion for choir arranging. 

As a multiple woodwind specialist, I know I can't be amazing at everything unless I practice everything right in a row.  So, I need to be able to play Flute, then Sax, then Clarinet all in a row and IN TUNE dear god help me.  In a recording environment, I just want to go for one at a time if it aint too much trouble, then work out kinks from there.  Also, I tend to write stuff that avoids my secondaries if possible.  I do enjoy playing flute and clarinet, but let me tell you, you can't master everything.
Actually, I can say that my woodwind playing has suffered from my brass playing.  AND my classical playing suffers from playing jazz - the reverse is true as well.  Strange stuff.
What HAS formed a symbiotic relationship is my guitar playing and bass playing combined with my wind instruments.  Playing bass has enhanced everything.  Its amazing.
Let me say, as well, that I think multi-instrumentalist stuff is for the birds, subjectively speaking.  We should write for what is on hand and available.  According to the world at large, it takes 10,000 hours to be an expert at anything, and even though I have long passed that 10,000 hour mark, I still do not feel like an expert on my primary instrument.  Sad truth.  I even know my teacher in grad school felt the same way about his playing.  There is always something more to perfect.  Moral of the story is there is someone out there willing to play *expertly* the thing that you write, and they can let you know if its possible or not.
There should be no shame in collaborating with someone.

Quite a bit of activity the past few days, so I thought it'd be good to share some updates.
The tracks by DusK, Tuberz McGee and Jorito (yep, me) are basically fully done (if we all can get over the never ending last nitpicks we obsess over ) So that's 3 tracks that I would consider finished.
Furthermore, Audiocolor updated his track and it's also very near final. Same goes for WillRock. Chernabogue is waiting for recordings of his army of guitarists, bassists and sax players and by the looks of it he'll be in time for the deadline. KingTiger received his guitar recordings too, and also things have settled down for him somewhat so that he can get his track in better shape.
We're still waiting to hear back from @zykO, @Lucasonic and @Bowlerhat, hope their tracks are still on schedule and going well 

My first instrument is piano which I played for many years before progressing into the world of percussion. I still struggle with finding time to practice everything to get it to the level where I'd like it to be. I always find it best to set goals in each area and work towards those as long as they are challenging you. Some people can just play whatever you throw in front of them. I am not one of those people! These days I tend to stick mostly to drums and percussion for intense practice, but I keep my piano up and progressing slowly...

This divide and conquer thingy sounds like it makes a lot of sense. I've decided to cut down a bit on the drum and bass, and focus on trumpet right now. Because of the embouchure this is quite difficult to combine with flute, but I'm managing. This doesn't mean I'm not playing any drum and bass anymore, but it's just not a priority. I've got some experience with learning how to play instruments, so I know I'm not going to become a great drummer in a month. Also not in a year, or two years. I'll probably never become a really good drummer, but that's all relative. Like DusK said, becoming mediocre at everything sounds like a great bet, since it'll be useful for my own recordings and compositions. The same with bass, trumpet and whatever other instruments I might wanna play later. And I just generally always want to keep improving, no matter how good, mediocre or bad I'm at it. I think that kind of mindset is important if I want to make a living out of music.
After downloading the app Garpocalyps recommended to me I've been getting my music making a bit less chaotic and more streamlined. I'm starting really easy, with just practicing bass once a week, drums once a week, trumpet daily, composing daily and flute whenever I've got some time left. But I'm planning on getting things a bit more frequent.  
Carbunkl sums it up pretty well.
 
Everyone, thanks for all the advice!! I'm gonna keep all the words that have been said here in mind. 

Hahaha, I ascribe to this method as well
In all seriousness though, yeah, this. I started off learning guitar when I was young, which naturally led into getting decent at bass, and then after that comes a fairly decent working knowledge of the majority of stringed instruments...and then about 4 years ago I picked up drums out of necessity for a friend's band. Trying to learn piano at the moment, and it's by far the most difficult instrument I've ever tried to learn . 
Pretty much the best advice is to just always be tinkering around with stuff! 

Yes. 
As someone who plays guitar/bass/drums/saxophone/keyboard, it is something you build up over years, and not all at once. 

Yo, pro multi-instrumentalist here (keys/trumpet/guitar).
I think part of the problem is that you're trying to tackle a bunch of things that require different skill sets/muscle memory. The best multi-instrumentalists I know spent "seasons" learning different instruments, and if your goal is high proficiency in so many different tools, I think divide and conquer is your best bet. 
If you feel like tackling a bunch of different things at once, then I would try to focus on a set of instruments that are at least in the same family. For example, trumpet and flute, while vastly different, are both wind instruments, so there's some overlap there. Guitar and bass use the same fretboard, so that knowledge transfers from one to the other.
If you're serious about learning drums my advice is to lock yourself in a practice room with a metronome for two years, and make that your main focus. Get a lesson every now and again, just to make sure you're not doing anything that will lead to injury down the road.
Good luck!

Welp, thanks for all the input. I already downloaded the app, and it seems to really be something I can use, so thanks for that. I'm also going to try to wake up earlier regularly. Generally everything Garpocalypse said seems like a great idea. I don't actually play video games, but I suppose it's always a good idea to spend more time on music and less time on relaxing and doing stuff for yourself, whatever that is. As long as I don't overdo it of course. Also just a kind reminder that I'm looking for specific feedback for my problem and that this is not the right place to mindlessly advertise your own stuff without any actual relation to the current topic.

Just be mediocre at all of your instruments. Seems to work for me.

I'm not a hugely diverse instrumentalist but I have picked up a number of mostly string instruments over the years.  Each week I work on bass, double bass, guitar, keyboard and shakuhachi 
Prioritize your practice time and keep a weekly log of time spent on each of them.  Your main instrument should be given the most time each week and don't worry too much if you can only get 15-30 minutes at a time on some of the instruments you are learning. Figure out how much time you can spend practicing each day and divide from there.  If you wind up with something nuts like 10 minutes per instrument once a week then yea you are probably over doing it.
If you're your own teacher for the instrument then take one idea, piece, melody, scale, mode etc. each week  and play something from it across all of the instruments you know.  This is a lot more fun and useful than practicing individual repertoire for each instrument.   For example, this week i want to improve on improvising in Locrian so I improvise on Locrian across everything I can.    If i'm working on a remix, I play the source tune, or pieces of it, across everything I can before I actually rearrange it. 
Before you do anything crazy like give up on videogames try managing your productivity with a free app called Habitica.  It turns your accomplishments into an RPG where you can get gold and exp by working towards the goals you set then allows you to set your own rewards and who says an hour of gaming can't be one of them?  However, if there's no gold, no gaming. 
 
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I'm not really a multi-instrumentalist but I do a variety of things in general. Currently taking ballet lessons and working out so I can stop being fat. I have a kid and a full-time job, so I'll tell you how I find time to do stuff.
1. I don't do the stuff I already know how to do so I can "stay in practice." I learned how to play guitar and now I almost never play guitar. Hahaha.
2. I wake up at 4am. Yes, it sucks.
3. I didn't bother learning to play all the other instruments. I know it sounds like the lazy man's answer BUT, you may be interested to know that I have composed for a variety of orchestral instruments for a concert and I don't know how to play any of them. All you NEED to know is what clef to use and what the highest and lowest notes they can play are. And with just that info, I managed to compose a concert for a piano, cello, violin, timpani, drumset, clarinet, and some other stuff that I don't remember. Don't I sound awesome!
I hope that helps a bit. Of course, if you WANT to be able to play all the instruments you compose for, you should do it and just accept that it takes time. The only other piece of advice I have is...
4. Give up video games. But there's no god-damn way THAT'S gonna happen, right?

Ok, so... There's a bit more than a week left until the next deadline, so I think I need to leave a reminder here: here's the list of those who have some stuff in progress now:
@evktalo @zykO @Audiocolor @WillRock ! @DusK @wildfire ! @Lucasonic @Tuberz McGee @~Faseeh~ ! @Bowlerhat @KingTiger @Chernabogue @jnWake ! @Jorito Please, don't forget to turn in your WIPs! If you have some reason not to send anything, just tell me about it - I'll delay your deadline, I'm fine with that  Just be honest  Those people, whose names are marked by exclamation mark, haven't sent anything at all (or for one of their claims). If you don't send your WIPs until September 18th, I'll cut your claim down.

Something else on the topic of humanization in general. When you write with non real (fake) instruments, you indeed have to add all those tiny articulations and stuff and it takes up a lot of time, which might seem a bit of a wasted effort. But don't forget that when you use non fake (real) instruments you do the exact same thing. The art of phrasing isn't something as naturel as it may seem. When I write for ensembles I spent hours and hours on articulation notation. Singing the lines, seeing whether the third note needs a tenuto or an accent. The difference between a staccato and a marcato note is huge. The whole humanization concept is basically the same thing as when you're writing for non real (fake) instruments, and takes just as much time. When I play in an orchestra or combo or whatever and my sheets don't have any articulations on it, well, I just don't know what to make out of it. Humanization is an important part of music, whether you're using a midi keyboard, a symphonic orchestra, or if you're playing all instruments by yourself. Denying or underestimating its importance is a very dangerous thing which can't ever be good for your music. I'm not saying that you're doing that, but it's just generally a good thing to not see non real (fake) instruments as a different thing than non fake (real) instruments. Because, in the end, when you're writing for those instrument, you have to get into the instruments and player anyway, and try to see how you'd play it if you were actually playing. And then try to mimic the impression of the sound you have in your head and convey it either on paper, or in your DAW. 

Definitely my favorite piece on the album. I could be biased because it's the only piece I actually played in, but the whole drive, climax working, soloing, chord syncopation and overall sound makes it just so darn satisfying to listen to. It was an honor to be able to participate in such a masterpiece. 

I just signed up for an account entirely to say how fantastic this is.
so, yeah. THIS IS FANTASTIC.

First off, thanks for the criticism, @Bowlerhat, I agree with some of the things you said!  And you are a musician too, I know this is coming from a good place.  On to discussions:
Upon listening to it with this in mind, the big big jump I hear is the one going into 2:40ish, but looking at the score, it modulates to the subdominant, which might be what you are hearing (?), and texture-wise, its still pretty busy.  Shaker + set, saxes take a back seat, the orchestration is similar to all that came before.  HOWEVER, the textures are sparse during the solos to give them lots of room.  When the guitar takes over melody at 2:40ish, the orchestration gets thicker again.  That may be contributing to jumpiness / medleyness.
And yeah, technically it is a medley, too.  Really its 4 songs in 1, but Bonetrousle is dominant with the other 3 in the middle only once through or something.  NOW, I CAN TOTALLY see some lack of cohesion where you are talking about that piano gliss going into the more latin section.  That totally the arranger's fault (me).  I think the next sections make up for that some.
How so?  The majority of that line is parallel thirds, I believe, maybe I rushed  when I was playing tenor
It's foreshadowing melody over A section material.  I would totally write something like that again, I thought it was cool.  @Mannywing gave me a pat on the back for that one, especially it finishes out in the second half of the true A section melody.  We thought it welded those themes together without intruding.
I feel you dude, but I wanted FULL instrumentation there to prepare for the final cadence before those 4 bars of drums.
Thaaank you so much - I was really proud of that one.  I had to spend time crafting it, tinkering.
@Mannywing would know better than I, but I hadn't thought about that.  Great suggestion.
In closing, I am aware that there are a lot moving parts in this machine, but it achieved the level of complexity I wanted.  I believe in finding more things to latch onto as you listen through than once.  I DO BELIEVE it would have benefited from being recorded live with all the musicians in the room, but unfortunately, that requires a lot of players, a lot of gear, and a lot of time.  We did this with 5 people, some mics, and a couple of preamps, and its a sure thing that mixing that many different tracks is tricky-dicky.
Keeping all your words in mind going forward, I am so glad you listened to it.  Currently, I am writing stuff with thinner orchestration, which might help with what you thought was distracting.  But, yeah man, I am glad I read your post!
Let me know what you think of my responses.
Peace,
- Hank "The Spank Tank" Jankerson -

Gario's got the business down, so I just want to say this:
It's working, trust me. A lot of people are going to dig this.

Is the microphone a directional one or an omni? It'd be odd that it's catching so much of the reverb if it were a directional microphone - an omni would absolutely cause some issue, in that regard.
The upright piano sound comes from the intonation of the piano itself. I was just a goof on that, and was trying to cover my bases as much as possible giving advice on both styles of piano. Good luck on the next recording, though - I look forward to it.

EVAL
Damn, this is filled with quite a lot of emotion. It honestly sounds like improve on a piano that you might here in church, with slick flute above. It's very different, and it's something that I personally enjoy quite a lot. It's a little nostalgic, in some ways. The flute is very jazzy, and works wonderfully with the piano. Sometimes it loses a little power and becomes a touch too quiet, but it's not that big of an issue to an otherwise great performance.
I can hear the issue that you have with the piano - it sounds like it's recorded in the back of a room, whereas the flute sounds more up close and personal. That's an issue with the recording set-up; you probably have the mic somewhere in the room, correct? For a grand piano the ideal recording placement is to take two microphones and place one in the room (like yours is now) and one above the strings. That way you can mix the reverb as you please against a more clean sound.
From what I can tell, though, this isn't a grand (or baby grand) - it sounds more like an upright. The ideal placement in this case is one mic in the room (again, as it is here) and one right behind the upright. If you want the best sound, you can remove the back panel of the upright and expose the strings - that way you can place the microphone similarly to how you place it on a grand piano. If you only have one microphone to use, placing it on the back of the piano will give you the cleaner, stronger recording, and thus will let you add whatever reverb you like (though I really like the reverb here - it's something that can't be imitated easily at all).
The piano itself is slightly out of tune, as well, but I actually think that's part of this piece's charm. When the piano is just slightly out of tune, it actually makes the whole tone warmer. Again, something that is very difficult to imitate, so I would personally take advantage of that. The piano execution has a few mistakes here and there, too - the judges would catch you on that. They're not frequent, but it'll knock it down a little bit.
As far as whether this can pass the panel as it is, I think it has a shot, but the piano recording might hold it back a little bit. You might be able to mix it more to the front to give it more presence, but I'm not sure if that would take it over the bar on it's own. I really like this performance and overall mood, though. It's up to you - it has a shot on the panel, but if you're not comfortable with the piano recording here hopefully my recording set-up advice will help you get the recording quality you want.
Good luck! I think this is a great idea for a track, so I hope it does make it's way to the panel, either as-is or with a more ideal recording.

Wow, thanks for the in-depth response. Gonna mull this over with @HankTheSpankTankJankerson - get back to you later this week?