Mediagloss creates audio — music and effects that blend, flow, and work together, immersing and enveloping the player in the experience. We strive to support our wonderful clients’ visions, providing sound that’s inventive, catchy, hum-able, infectious and most importantly ideally suited to the game it will live in and enlighten.
Mediagloss was started by composer and sound designer Brian McBrearty in 2005 and has provided industry leading music and sound solutions interactive media,for the likes of Google, Tencent, Facebook and Sago Sago.
Our in-house music and sound design production is bolstered and extended by a talent network that reaches around the globe. We are simply graced and fortunate to know and work with some of the most talented and creative people in the world — voiceover, acting and singing talent, orchestral instrumentalists, rock bands, and electronic artists — who help us to deliver whatever your project needs to reach its potential.
Original Music Composition and Production
Mediagloss specializes in creating custom music for games — music that lifts up the game and immerses the player. Game music of course is about as broad and varied as it gets! So, a composer might use anything from a huge orchestra, to a guitar virtuoso, to a slide whistle, or an NES style 8-bit chip. Sometimes ALL of those. All that requires sensibilities, skill and experience. It’s also tremendous fun.
In games, stuff go boom sometimes.
Sound design is a lot of things brought to together. Sound designers will generate sound from synthesizers and samplers, or they’ll go out with some microphones to find and record the sound they need, or they might set up a foley stage right in the studio and make the sound from organic sources. And of course we might put all those results in a blender and manipulate the hell out of it to make it larger than life.
We bring together a lot of shiny technologies and learned techniques but the end goal is always straightforward — to get the mood, emotion and impact we need for a particular setting or event and enhance the player’s game experience.
We work with a network of voice talents far and wide. Sometimes we do a session in house, but most of the time we go through our huge rolodex (Not really, our rolodex broke.) and find the precise voice the project requires. We have technology and protocols that make working remotely feel like working locally. One example would be what’s called “phone patch.” It’s like they’re right in our in-studio vocal booth, but they’re in their personal recording studios wherever they’re based. It works for clients too — clients can be there virtually as well and sit in on the session right along with us.