Think globally, act locally


Our localization service covers all aspects of the game localization process. We expertly manage pre-production, translation, audio recording, desktop publishing and quality control supporting you through the certification and age rating submission processes.

Strong Centralized Project Management
You will be assigned a single Project Manager who will take care of any aspect of your project and will be your only point of contact


Localization and functional testing are key phases for the release of any software or any digital media. We have developed an innovative and unique testing process that delivers top quality results whilst also generating significant cost savings. 

Functional, linguistic, certification and internationalization testing are carried out simultaneously by highly trained native testers who are supported in logging bugs by our professional teams of linguists, engineers and certification consultants.


The developers need to feature just the right amount of realisim and interactivity with the game´s audio enviroment, which means players are able to identify individual sounds as they step into a new room.

As it is no longer possible in many production teams to have only one sound or music designer with all the expertise, there is the need for the conceptualisation of audio in a cooperaive context; an articulation of concepts, structure and the functioning of audio. This thesis aims at contributing to this conceptualisation in the field of game audio.


In our own experience, we’ve always tended to mix for the highest possible spec end-user, in this case a 7.1 home theatre, and get a mix that can deliver that experience in the best possible home-set-up. Once that mix is complete, the process of scaling occurs, whereby the ideal 7.1 mix is cloned (or adapted, depending on your authoring technology), and tuned for a 5.1 set-up, and again for a 2.0 set-up with the intention of re-focussing the experience for a completely different speaker array.
The difference between 5.1 and 7.1 may not seem like a big deal, but in games where a player is using sound, and sound positioning in particular for enemy intel, it can make or break the player’s experience if that intel is in any way compromised. Being a player at the centre of a discreet 7.1 mix works really well for the FPS genre for example. The difference between 5.1 and 2.0 is massively significant and requires a very different mix approach to both music, vo, fx and all kinds of dynamic ducking as well as limiting and compression. The days of just hoping a surround home theatre mix will just sum down perfectly to a stereo mix experienced on TV speakers is thankfully behind us. This all points to the need for more advocacy for time on the mix, both during, and at the end of production.

original music

As in films, effective use (or lack of use) of music in videogames has proven to be the difference between a defining emotional climax reaching its full splendor, and what would have otherwise been captivating moment achieving the poignancy of a dried tomato (unless dried tomatoes actually bring you to tears, in which case I’m sure they satisfy your need for emotional storytelling to a far greater extent than any game). Just as the last few years has seen great strides in compelling videogame narrative, so too has its use of music seen rapid development.

Over the years, music in videogames developed just as rapidly as its technology:
it has become a good time to be a gamer.
  As well as a device to create atmosphere within the story and setting of each level, music has been used to directly communicate information to players in an artistic way, this leads me to unveil a musical beast unique to videogames.



A recording method of simulating audio that brains think is coming from a close by.

It's a great illusion that fools our senses. Byusing two microphones to simulate two different sound receivers (ears), it creates a realistic soundscape. Obviously you need to be using headphones with this one.  
The idea is to harmonize your brain to certain frequencies associated w/ different states of mind. Let's use for example alpha waves. Alpha brain waves operate at frequencies of between 8 - 12 hz and are associated w/ a relaxed/reflective state of mind. Because the human ear cannot actually registers sounds at this low of a frequency, using a "binaural beat" the brain can pick up on slight tonal difference delivered to the left and the right ear. So 2 tones varying by 8 hz are delivered differing ears, the brain registers the difference and begins emulating/producing alpha waves.

Now, for a thriller/horror game, a beta wave binaural beat could be used, beta waves are associated w/ an alert/working state of mind and can heighten attention and tension. For a trademarked "remedy" surreal dreamlike level, a Delta binaural beat could be used as delta waves are experienced during dreaming/sleep.