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Nathan Allen Pinard

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  • Location
    Portland, Oregon

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  • Biography
    Nathan has done work for Disney, orchestrating and co-writing the song "Dare to Dream" on The Princess and the Frog: Tiana and Her Princess Friends with several other composers. The album the song is featured on was recently released in stores. Nathan has also worked with various clients such as Brandon M. Dennis . Known as Oxhorn Brandon is the creator of popular World of Warcraft machinima films viewed by millions such as the “Inventing Swear Words” and “Associate Professor Evil” series, as well as other small films. Nathan has also worked with well known machinima author Johan Vagstedt with Firebolt Productions creating some of the most dramatic World Of Warcraft machinima complete with heavy cinematic fight scenes.

    Other than machinima, Nathan is also versed in composing for short live-action films, such as “Runaway Rightie” and “Finding Lost” by Will Nail, and is also currently working on a project by Carolyn Hodge of “Moondancer Films” and "Emma's Wish"

    Finally, aiming at one of his bigger passions, Nathan has aimed to create music and sound assets for games, starting with the IGF Student Showcase Winner Gemini Rue, by Joshua Nuernberger and then Technobabylon by Technocrat Games. Both published by Wadjeteye Games.
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Artist Settings

  • Collaboration Status
    2. Maybe; Depends on Circumstances
  • Software - Digital Audio Workstation (DAW)
    Studio One
  • Software - Preferred Plugins/Libraries
    Hollywood Strings, VSL Orchestral Cube, CineBrass Core, Omnisphere, 8Dio Steinway (1969/1928), Oracle, Storm Choir 2, Project Alpha/Bravo
  • Composition & Production Skills
    Arrangement & Orchestration
    Mixing & Mastering
    Recording Facilities
  • Instrumental & Vocal Skills (List)
  • Instrumental & Vocal Skills (Other)
    Various Ethnic Woodwinds

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Nathan Allen Pinard's Achievements


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  1. What is it you need done other than people getting their work in?
  2. I'll hold till 2017 then, as I can't right now.
  3. Uh question. Is this is really long term deal? Because I might not be able to start at all till 2017, but from day one I've been eyeing Jealous and I'm getting close to done with another OCR Project.
  4. This episode I deal with keyswitching in Bravara Scoring Brass and using sustain to keyswitch in Cinebrass while layering both for Trombone/BassTrombone. Later on it's messing around with VSL Percussion (which is still one of the best basic perc libs that exists) and then topping it off by getting some of the staccato/spiccato strings in.
  5. Episode 12! I work with Cinebrass combined with Impact Soundworks Bravara Scoring Brass in this one!
  6. Oops, forgot to post episode 10! Here is also episode 11 where we finally move into Studio One.
  7. Good points. I knew I missed a few. Also some developers will try to get you to sign THEIR contracts. Read these carefully. Often the person that makes the contract has the power. They often will put a clause that the contract is broken if a certain thing happens. I had one I edited myself after they gave me one to have me keep the rights. They initially wanted all the rights. This was a simply early access project. Later on I had a family member (my own mother) do a voice for the game, which they were fine with but in the end they didn't like the voice. But I didn't give them the contract to sign before reading/recording the script. They looked at this as a breach and decided to re-write the contract to have them keep the rights of the music. I understand NDA breaches, but family, even if recruited, was a bit of a stretch to burn the contract imo. So make sure that part is very specific. Generally your wife, brothers, sisters, whatever are going to hear and see stuff.
  8. YES. There are a ton out there that you can buy, or download for free. Some composers tend to make them available. I don't have a template at present, but it's something I need to do. Basically the agreement needs to be legal "sounding" and have certain clauses to protect you. Things like this: 1. The amount (whether specific or a %) Sometimes it's best to do both. And most often in big AAA projects that is the case. 2. YOU holding the GRAND rights to the music. The only time this is ok is if it's a big AAA and they pay you a ton. Some companies will force this, or not hire you. You have to determine if you're ok with no having the right to post, sell, or ever reference the music you wrote for the money they give. Most composers say never do this, but some have, but only for big companies like film and AAA video game companies. You are essentially giving them the right to use the music in their products and promotions for those projects. And only for that INSTALLMENT. So they can't use the music for the sequel, or spinoffs, or the movie/TV show, etc. Make sure that is specific as well. Licenses cover all platforms like PC, Console, iOS, etc. 3. The deadline. 4. Whether there are any penalties for the deadline. 5. Re-write clauses. (sorry I've never had these so not sure how to word them 6. Make sure the license is specific about where the law is governed. And make sure you know that law in terms of copyright and such. 7. Names, addresses, and signatures of both parties. No digital signing. If you happen to be licensing music you already created, make sure to include whether it's exclusive or not. That's all I got for now.
  9. Next episode is up! This one contains better audio, and even more cuts. These are getting down to 10-15min at most. Please let me know your comments!
  10. Episode 6 is up! These episode are now only around 20 minutes edited from 1 hour long sessions.
  11. Hey everyone, you can see my progress on my Youtube channel. I've got nearly the whole thing notated by now, and I definitely pull out the stops on this one towards the end. Every see Prince of Egypt where the red sea is parted? Yeah..kinda like that. (thought that episode hasn't happen quite yet)
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