I just listened to your submissions. Aside from the technical issues already noted, I'd offer the following
For Carulli's arpeggios, I find pieces like this to be very bass-driven. To get a feel for the piece, play just the bass notes a few times through, and listen just to the bass notes in M. Delcamp's example. It's kind of interesting to me how doing so really improves my conception of the piece. If I emphasize the basses as I practice/play, it usually comes together for me better conceptually.
For Morin's piece, I also prefer it at a slower tempo, and I really like how you played it so expressively. I recognize that your interpretation may not have been the composer's intention, but there's no accounting for taste, and this is one of those uncommon cases where the composer's original intent is not the version I prefer.
The Paganini piece was done well. Did you play those arpeggios in the middle twice before going to that melancholy diversion? I'm not sure it called for that. Anyway, I thought you played it well; in particular, you were steady, if not as speedy as M. Delcamp, in handling those measures which I described as the musical equivalent of falling down a flight of stairs. I have a great deal of difficulty playing those steadily. I don't have a feel for how they should sound, and at my slow pace, they don't sound like anything. I'm sure it's not helped by my inconsistent tempo, but if I could only have in my head what it should sound like even at a slower tempo, I might gradually be able to bring my playing into concert with that mental notion. But even with a recording device that will slow playback by as much as 50% and preserve pitch (distorted, though), I can't get the phrase in my head. So that part is a stumbling block for me ... as are making quick LH shape changes for the arpeggios (which, once done, aren't hard to play, of course).
Kudos and cheers to you.