1) You don't have to be anything or anyone to create something or worth. As Mr. al Guhl says: "Your training is nothing. The will is everything."

2) If you don't have time work, listen. Find some great classical works that have inspired the great film composers and go from there. Stravinsky's Rite of Spring, Holt's The Planets Suite, etc. Blast it, soak it up, and write when you can.

I give private lessons in composition, harmony, production, etc, so if that interests you I'd love to help you out. You're already clearly on your way--Reaper is awesomely powerful and is quickly becoming a contender in the DAW game. EWQL stuff is incredible (I've got Gold--amazing woodwinds). Reason rocks as well.

Any place I could hear your stuff?

Frozen Glory: Nice! Nice riff, great guitar tone, pretty good mix overall (though at the end during the big cymbal hits it becomes obvious that your master compression is a bit heavy). The only real criticism I have is that I want to hear more action in the strings. You've started off with this really high-energy riff--why stagnate the energy with the sustained strings? The strings are a great idea--especially considering the subject matter--but if they were staccato, faster, and provided more than simply following the guitar's lead (i.e. adding a melody--bringing them to the forefront of what's going on, rather than just another texture), this track would really benefit from it. Try thinking outside of the "4 bars -> repeat -> something else but still similar -> repeat" sort of form. Instead, always sit back and listen while you're writing as if you were an audience member. When would they get bored? Why are they getting bored? Writing and arranging are all about that. Manipulate the audience's attention span via keeping the energy of the track up and keeping them guessing, and baby, you got yourself a stew.

Tour de France: Since it's a cover there isn't much to say in regards to writing, but the mix is a bit less clear than the last one. Consider taking the drums down a bit--the cymbals and hi hats are fighting with the guitar. And try cutting around 300hz on your master output to help open up both the low and high end. I could go in to more detail in regards to mixing if you'd like, but I don't know your current knowledge level.

Overall, nicely done. A couple tweaks and you're there. I can't wait to hear your newest piece!

Alex, you've really inspired me to keep going. You've hit the nail on the head with loving the 4 bar "chunk" of music and being afraid to branch out from there. That's me in a nutshell.

I'd like to think that eventually I'll break through that wall.

I'll let you know when I have something up. I really appreciate you taking the time.

Btw, I had a second listen to the soundtracks episode. That episode is so stupidly my bag it wasn't even funny. I was geeking out the whole time. What you guys were doing with adding the lower end counterpoint to the Tron theme: bad. fuckin'. ass.

Teague, we're gonna need another one of those, m'kay?

I didn't give you that title, but man, I wish I had.

This is my kinda thread.

I'd love another (17 or so) podcasts talking about scoring and soundtracks.  it's obviously harder to do, but it might be interesting to cover an entire movie and breakdown the scoring and how it evolves and changes over the film....when themes repeat and how it relates to the action on screen.

Fun Fact: WAYDM DID talk about LOTR all damn day.