Sorry for the delay in responding, Tom;as I suggest earlier, it's very nearly there; just some more refinements/suggestions follow:1) - the cross-fade at approx 5.27 between opium den and Basil needs greater finesse - smooth it out more.2) at approx 7.02 - when the instrumental murder track meets with the next spoke bit - there's a musical motif heard first, which is then repeated right afterwards - and this sounds odd, drawing attention to the splice - can you adjust so they don't duplicate - so the motif is only heard once, as the talk track begins again?3) Even though we talked before about having the final line spoken in complete silence - the line now does feel orphaned now; it just needs some ominous, slow note running beneath that line - nothing lavish - which can join nicely with the final closing refrain. It certainly needs something. (The same might indeed be true of the 'titter' - the harshness works, but maybe shunt the track forwards just a bit so you get more of a diminishing fade underneath the word 'titter' - but before the music picks up again?)Does any of this make sense in the abstract? I hope so.4) When Dorian stabs the portrait - somehow - the stroke of the knife needs to be heard musically - it needs to feel more like an exclamation mark - here again, maybe a beat of hard silence, followed by something discordant? Or not? It does need to be stronger, more of a moment - more 'visible' (though again, this is the wrong way to describe a musical cue, but you get the gist).
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