To my ears, this track is a good foray into orchestral/hybrid scoring type music.
In terms of offering a useful critique: while I do orchestral and hybrid-cinematic stuff exclusively, I'm also still learning the ropes, too. So take all this with a grain of salt
I like the overall style and motifs in the piece - very cinematic, and would be great for a montage or an extended opening credit sequence, or similar. I also like the mix of traditional orchestral sound and the ethnic vocal stuff. Works great.
In terms of mix, I got a sense of emptiness in the centre of the stereo image. The strings are panned to one side, the horns to the other, and the remaining instruments sort of float around the mix but don't seem to have enough presence to fill out the rest of the soundscape. The vocals occupy that middle space partway through the piece, and then the percussion comes in pretty strong, so that helps.
But I'd recommend moving the strings and horns in from the margins and more towards the middle. Not too much; they still need to be spread across the soundscape so they don't get in each other's way, but I've never been a big fan of panning orchestral sections too hard to one side or the other, as I think it sounds unnatural and distracting. If I'm adding hybrid elements (ethnic vocals, or electronic sounds etc) to a track, I may sometimes pan them pretty hard, but only in small amounts, and usually to draw the listener's attention to an esoteric element that doesn't last long and is there to produce a specific effect.
In terms of the overall acoustic space in the recording, it sounded a bit congested to my ears. I'd recommend a more spacious reverb sound, if possible. It also sounded a bit too compressed and lacking in dynamic range -- which is an issue that I've had in my recordings, also. Possibly this is over-compression in the mix, but it could also be addressed in the arrangement, too. For example, the string ostinato that pulses throughout the piece doesn't really develop or expand after its initial statement, so it might be nice to evolve it as you get deeper into the music. From what I could hear, the ostinato is all basses/cellos and maybe violas? I have found that expanding that out by adding violins to the ostinato can add energy, bite and excitement to the sound.
Same with the brass parts -- it's mostly horns playing their motif, and the other brass instruments making a tonal bed for them, but it might be nice to expand that a bit by doubling the motif on trumpets later in the piece.
These are just spitball suggestions, as I have found orchestral arranging to be incredibly sensitive to changes and really unpredictable - adjusting one arrangement detail can sometimes make a piece click, or completely throw it off in unexpected ways, or both! But I'd start experimenting with that sort of approach and see what happens.
For my own orchestral stuff, I am something of a plug-in minimalist -- aside from my instrument VSTs, I use very few audio plugins or processing in my projects. My current template loads up with exactly one processing plug-in: a single instance of Nimbus reverb that I create as a send. All my instruments and sections use it, and I dial in different amounts depending on how much I want to push instruments back or move them forward. I use a pretty broad selection of libraries, and when I built my template I used the settings within Kontakt, VSL and Engine for each library in order to position and/or eq the instruments so they occupied the same basic acoustic space right out of the gate. I have found that one reverb works great in that setting, and doesn't clog up the soundscape.
Of course, that approach depends on what libraries you happen to have on hand. I've got a ton -- way more than I'll ever need, frankly -- so I have lots of options to choose from, and that makes it easier to assemble a basic template that sounds good. I'd be curious to know what libraries you use.
I do sometimes end up adding other plug-ins to polish the sound by the time I get to a project's finish, but rarely more than a couple of EQ instances and maybe a compressor or limiter (usually for solo instruments, and on the final mix), and sometimes a tape emulator for some analog mojo. In terms of EQ, I usually only need it for clearing mud or boomyness, and I almost never add anything and just do minimal cuts on a pretty wide Q for the sake of overall clarity.
As I mentioned above, take all this with a grain of salt -- I'm just describing the stuff that has worked for me, and much of that is really just based on my own personal tastes and preferences.
But I figured I'd offer my two cents, and maybe you'll find a nugget or two of useful info in it