Hearing a lot of potential here. I liked to listen to it.
Just the mix is a bit off.
Considering your mix of bass sound design, let it be the main focus of the track in the middle of the stereo image. And to make it sound powerful and bassy in the mix, instead of boosting it, do a steep cut from around 100Hz or onwards. Try to find ways to make sound design sound cool WITHOUT being bass heavy. Sounds counterintuitive, I know. But just follow me here:
Make sure NOTHING else in the mix goes into this <100Hz territory, because it shall now be the the holy temple of sub bass and no kind of bassphemy is allowed in there. Make sure it stays fully empty.
After that compose a clean simple plain sine wave sub bass into the bottom of the track, and crank it up in volume. The point is that the lower you go in frequencies, the simpler the signal should be to ensure a powerful sounding mix. This goes long way, believe me.
If you want the kick to have these sub frequencies as well (I pretty much always do), just sidechain compress the sine bass with the signal of the kickdrum, so the sine will dodge in volume when the kick hits. This way the holy temple of sub bass will always host only one instrument at a time, ensuring it's simplicity which is the key to a powerful sub bass mix.
Stereo-imaging wise, keep lower frequencies in the middle and the higher you go, make it wider. Keep bass in focus, and let everything else starting from mid-frequencies take care of the three dimensional arena of sound.
Which reminds me, make everything else than the drums in the orchestra drown in reverb, effectively blending it into the background. Try to make it sound like it's very far away - lower the volume, make a cut in 500Hz with the EQ (this is weirdly important) and listen to professionally produced orchestral tracks to have an idea how much reverb there should be. Compare them together and ignore the difference in skill level, you came here to learn stuff and only that. Reverb is THE most important element in orchestral mixes, so do it well.
I don't have anything to say for composition itself, because you seem to be going in the right direction by yourself. Just give it time and you will figure out the master synergy between the orchestra and electronic music. There's no one who really does this stuff much, so it's up to us to pioneer this kind of music here.
Although in my opinion you should add more cymbal action your tracks to excite the high frequency domain. That's where the energy often comes from. Use a crash that sounds like a continuous noise when put after one and an another. Don't make it too obvious though, let it be like a support in the high frequencies. Changes everything.
That'll be all.