2. as an Oboe player, I know very well the real one, and sometime I feel the need of a stronger attack to say it's real (e.g. due to string loudness, in the slow legato passages of the beginning, the first note of every slur or phrase should be stronger. The solo cadenza passage in the middle, being not covered by strings is quite better as it is.)
I replaced the mix, I think it's a vast improvement already, the annoying piercing high are gone, as I thought a plug in thing, at least I'm quite comfortable with it. Let me know what you think. Thanks!
I'm not a fan of that oboe. I wonder if it would sound significantly better with the French oboe. I use the VSL woodwinds and of the two oboes--the Vienna and the French--I prefer the latter. Perhaps it's the fatter sound of the oboe d'amore that I can't get my ears around.
Nonetheless, a very nice piece.
One thing about the oboe d'amore is that it's not usually used with this much intensity throughout a lengthy time, which could get annoying after too long, it's really lovely when used sparingly in less dramatic moments, perhaps an oboist can confirm this. Wanting to show different sides of the instrument made me push it a little to much perhaps.
Actually the oboe d'amore isn't comparable with French or Viennese versions: the oboe d'amore being a mezzosoprano, has a deep and warm low range, (that is more trivial and less expressive in the sopranos French or Viennese).
But of course because of that, it's less clear in the high range, then never abuse of it, and use more the warm middle-low range instead.