The arrangement of my compositions are based on what I hear in real orchestra recordings. If I hear a song by a real orchestra use the so called "non-stop snare", I'm going to use that in my composition.

You're really hung up on this non-stop snare point but yet you disregard or don't respond to many of the other critical points others are trying to make. And if you're truly trying to emulate a real orchestra, much of that feedback was (and is) aimed at helping you achieve that. Even with sub-par samples. You've been around this forum for years, since 2011 I believe and you've been pretty active posting your pieces - WHICH IS GREAT! But much of the feedback you've been getting for years hasn't been applied. And I have no idea why that is.

It makes me think either you disagree completely with much of the critical feedback you've been given all of this time, or understand that feedback, ignore it or don't know how to apply it. I'm honestly not sure which is the case. Then you go on to say you're not ranting... while you're ranting in a long post. I don't get it. This forum is all about discussion, feedback, sharing ideas and helping each other get better.

And I'll give you a tip - the "non-stop snare" didn't really bother me as much, personally. But the production, odd volume changes, slow attack of some of your samples, lack of automation, lack of real depth and space and lack of overall progression in your piece did. And you can fix all of that with some production love! :)

Tl;d: Feedback can hurt sometimes. But try to look for what is useful to you as a composer (AND PRODUCER) and use it to help make your pieces better.

One other point - you seem to only look at your pieces from a composer's vantage point. But these days its critical that composers also be great producers. You're not producing your audio well at all. I pointed out several key factors that are lacking in your piece earlier. You stated this statement several times already: "...and I don't agree that following most of that feedback will improve it." Well, better production WOULD make your piece sound better without having to change a single note.

And that's really important because 100% of your audience is going to experience your music via streaming audio over the web. So shouldn't you spend some time and effort learning how to produce that audio better?

Well Sampletank 3 has a nice variety of good samples and articulations so maybe the problem is how you use them. Like in the melody starting 0:13 you clearly have used only one kind of articulation for the melody instrument. The attack is waaaay too slow for most of the notes and you release some notes too early so that you can hear the note fading out wrongly.

Try starting with articulations that don't swell in that slowly and use the swells only where really needed. It's so distracting that sometimes I think that the volume is pumped in the master.

I listened some of your other tracks and they sound nice when you have chosen the right kind of articulation and most of the time in nice parts it's without the swell. It sounds that you've just improvised or played the stuff in without touching the midi track afterwards to fix the note releases.

I'm not saying anything bad about the actual composition for now as it sounds quite nice. But it's ruined with wrong articulation choices. Try to fix even some parts and upload it again. That's how you have to work with clients also. They give you feedback (sometimes harsh) and then you fix things and notice also yourself that it sounds a lot better afterwards :)

You clearly are quite talented making songs and compositions so try to focus making them sound really nice for a while :)

I agree Sampletank 3 has good sounds for the most part. But the orchestral samples are from the dated Miroslav Philharmonik library from 2005. Not to be confused with the newer Miroslav Philharmonik 2 library. Still I could try to use more articulations. What articulations would you recommend I add to the French Horn melody?

Also, I have a question, when you talk about the attack, you're talking about how the note fades in correct? Just want to make sure. If so, does that mean I should fade in notes faster?

Again, the main thing with the Sampletank 3 orchestral samples is that they're from a dated library. More recent libraries like EWQL, Hollywood Orchestra and Miroslav Philharmonik 2 have round-robin samples. "Round-robin" means that a different sample is played each time you play a note. This helps get rid of the machine gun effect and helps instruments sound more natural. But Sampletank 3's orchestral samples lack this round-robin effect.

A lot of instruments in Sampletank 3 do have the round-robin effect. But unfortunately the orchestral samples don't.

Lacking the "Round-robin" effect, every time you hit a key with the orchestral instruments, it plays the same sample.

I have tried alternating between articulations every note to get around this; but that has questionable results sometimes.

The orchestral samples in Sampletank 3 also lack velocity layers. So no matter which velocity a note is; it will play the same sample.

More recent libraries also have built-in legato scripts. Built-in legato scripts make it easier to make realistic legato strings.

But I will try to take your advice and use more articulations. But like I said, the orchestral samples in Sampletank 3 are from a 2005 library and very dated. Lacking round-robin samples and velocity layers that newer libraries have, it's hard to impossible to make them sound realistic sometimes.

It's especially difficult with the strings.

One other point - you seem to only look at your pieces from a composer's vantage point. But these days its critical that composers also be great producers. You're not producing your audio well at all. I pointed out several key factors that are lacking in your piece earlier. You stated this statement several times already: "...and I don't agree that following most of that feedback will improve it." Well, better production WOULD make your piece sound better without having to change a single note.

And that's really important because 100% of your audience is going to experience your music via streaming audio over the web. So shouldn't you spend some time and effort learning how to produce that audio better?

Oh sorry nsmadsen, I wasn't actually talking about your feedback but The Lost OST's. I actually do agree with the feedback you gave. There is a lack of production such as lack of reverb. I agree with that 100%. Currently, I only use the reverb that comes with the samples; but perhaps I could add some reverb on the master track.