Give it a shot I say! Do your research, see what you can do, and put your music out there to get recognition. Best of luck!

Yeah, I'm gonna give it a go, after careful planning, of course.

Thanks to you all for everything. Wish me luck! *super finger cross*

-- Have you done any work anywhere professionally yet?

Go do this.. bulk up your resume and your knowledge of all things audio and visual as they co-realate to each other before going for the gusto. Most minuscule organizations expect you to come in to the position knowing as much as your predecessor, or more than whoever is there now.

Go intern for radio stations, news stations, small productions studios, or whatever // whoever else that is already in the business you can find that will give you a shot. Having a reputation works wonders when you're trying to land the gig of your dreams. Having the goal is one thing, but you have to make yourself worth it to them first. Bezou mentioned something extremely true: What does your client want?

-- Who is your competition....specifically?

Learn to recognize other musicians styles by the artists name. Same as we can tell if Forden had a hand in whatever score. If you don't know your competition, it is harder to "beat them" out for the position.

-- What kind of equipment do you use?

I don't mean to motivate you either way but, all of your work sounds like good -- rough concept music; Raw talent. You're going to need way more than that in today's market in order secure a position.

Rough Critique:

1.) Composition is messy on most of them. Everything sounds like I'm in your room listening to it right off of you keyboard or whatever. Strings are too loud or too soft. Every piece of every track has similar problems. If you have a program like Pro-Tools or some other "industry standard" software, get in the habit of editing each part of your instrumentals on individual tracks. Do not ever compress your tracks, save them, and leave them that way. Always have things editable.

The tracks you take to the interview should be really polished MP3's or something to that effect.

2.) Some of your notes are off on a few of them. You can't hide this kind of thing from experienced ears. The second they hear it, they will throw it out.

3.) You need better equipment // better studio. The closer your stuff sounds to being mastered without being so, the better.

4.) Know all the applicable file types, understand at least three ways around any composition problem technically, and use your raw talent as your intuition. This is the reason why you (people in general) should go to school for your passion.

School mainly opens doors for you, helps you have a reputation, and helps you understand how to turn your raw talent into a polished, marketable product that people will want to pay you for. THAT's what school is about now. People pretty much have access to all the information but, a school still can give you the edge you need. Choose carefully.

5.) KEEP TRYING @ THIS ART FORM! You obviously have the raw talent for it. Although, the technicalities are what is going to eat you alive in an audio interview.

==

Dunno if any of that will help. I know I've heard some of your stuff before though.

I hear you both, and I thank you both for your imput.

To Predator, I have always kinda felt my work was a bit mushy. I really do need to learn how to better master my work. And yes, an internship would go a long way. I'm still pushing towards working for/with my godfather, who's already a well accomplished composer/musician, even if not mainstream.

To Icebaby, I feel you 100%, and I remember Bezou telling me the same thing. I've actually decided to composed a new portfolio specifically for NRS, which will take [shit loads of] time. I'm thinking maybe a track for every genre, and one for every major time sig., would be helpful, to show I can compose in any aspect.

I predict it would take a few years before I get to the point where I'm able to run with the big dogs, but the world wasn't made in a day. One thing I do know, and this alone has motivated me this far, I do have talent.

Thanks again, everyone.

I'd say go for it, but prepare yourself for possible rejection (not because you're not talented, but because it happens) and use that as a learning experience. And don't give up! When L. Frank Baum wrote "The Wizard of Oz", his manuscript was repeatedly rejected. A lot. He never gave up though, and I bet the publishing house that passed on WOZ is kicking itself because the story has been popular for like 100 years and generated millions of dollars of revenue.
Good luck to you.