I take German dialogue from the translated word to the finished, approved take. I adapt the lines so they play, engineer the sessions that record them and speak a fair share of them myself. The setup is built around indie budgets and scales up when a bigger project needs a larger cast.
The same person does all three. German localization usually breaks at the handovers between them, when the engineer never read the script and the actor gets a text nobody timed. I keep the line from the desk to the booth, so that does not happen.
A translated line is not yet a line an actor can play. Adaptation is the pass that makes it speakable. I time the line against the source, fit it to the constraint the scene gives it and rewrite it until it sounds like German somebody would actually say. The adaptation is lip-sync where the engine demands it and time-constrained everywhere else.
Translation comes with it. It covers more than fifteen shipped titles, from Batman: Arkham Shadow to Wuchang: Fallen Feathers, and runs from dialogue through UI to store pages. The pass that decides whether German players believe your characters is still the adaptation.
You get one accountable lead, a vetted team of up to 10 behind larger jobs, and staged deliveries, so finished batches are already on your side. I am available for the long run, from the initial ship through DLCs, updates, patch notes and ongoing content.
You can book this on its own, without the translation or the voice work. I run Pro Tools sessions as recording engineer on your studio floor, from session prep, tracking, punch-ins and take management to cleanup and delivery to your naming convention. I work in the room, next to the director.
This is the chair I sat in on Kingdom Come: Deliverance II for GlobaLoc Berlin, and the work I do for Anakan (Lionbridge Games) and, since September 2026, Altagram. Most of what passes through those rooms is under NDA, so I can only name a few of the titles.
I learned Pro Tools under Otto Pinto at GlobaLoc Berlin. Berlin studios by default, elsewhere in Europe on agreement. Day rate on request. If you already have a studio and a cast and only need the person behind the glass, that is a booking on its own.
Small casts I record myself, in my own treated booth in Berlin. Larger casts I direct remotely, each actor recording in their own studio while I run the session live. You get broadcast quality without renting a single room.
Casting runs through the Berlin voice pool, around 200 voices. In-game usage is always included flat in the quote; trailers and ads are quoted separately, so there are no surprise buyout fees later.
Hear me in Gears of War: E-Day
Hear nine characters, from orc to narrator
Audiobook and brand work on moritz-seipke.com
In ongoing professional speech training with Grit Hollack (Dipl.-Sprecherzieherin).
I record and direct on the same rig I engineer with, so a line that fails in the booth gets fixed at the desk instead of coming back as a change request.
Orc, goblin, demon, merchant, narrator: German character reads, all voiced by me. Every card carries the German line with an English translation, so you can judge the acting without speaking German. The demon plays with effects or dry, and you can switch in the middle of a line.
The same voice in a shipped AAA game: in the German version of Gears of War: E-Day I voice one of the civilians waiting at the courthouse to be evacuated.
Gameplay: blubberbernd2377 on Twitch. Gears of War: E-Day © Microsoft.
Cartoon characters belong to my range as well. In KRASS!, the German version of Be Amazed, I dub Bathowlomew Eggbert in sync with the picture and did the sound design for both scenes.
Animation © Be Amazed Media.
Kleiner Mensch kommt in Graks Lager und will reden? Grak redet nicht! Grak frisst! Macht Feuer! Heute gibt es Menschensuppe!
Little human walks into Grak's camp and wants to talk? Grak doesn't talk! Grak eats! Make fire! Today there's human soup!
Psst! Nicht so laut! Die Wände hören mit! Und sie mögen keinen Lärm! Möchtest du einen Tee?
Shh! Not so loud! The walls are listening! And they don't like noise! Would you like some tea?
Kontakt links! Alle in Deckung! Basis, hier Sierra! Wir brauchen sofort Luftunterstützung! Hoch mit euch! Wir gehen hier nicht drauf!
Contact left! Everyone, take cover! Base, this is Sierra! We need air support, now! On your feet! We are not dying here!
Glänzi, Glänzi, alles meins. Der Große hat's nicht mal gemerkt. Zu langsam, zu dumm, zu groß. Nicht hauen, nicht hauen. Grubli gibt's ja zurück. Vielleicht.
Shiny, shiny, all mine. The big one didn't even notice. Too slow, too dumb, too big. Don't hit, don't hit. Grubli gives it back. Maybe.
Du hast mich gerufen, kleine Seele, und ich bin gekommen. Ich rieche deine Angst, deine Schuld und diesen einen Wunsch, den du niemandem verrätst. Sag ihn laut, und er gehört dir für einen winzigen Preis.
You called me, little soul, and I have come. I smell your fear, your guilt, and that one wish you never tell anyone. Say it out loud, and it is yours, for a tiny price.
Ah, ein Kenner! Das sieht man schon an den Stiefeln. Dieses Amulett gehörte einem echten König. Für dich nur 40 Goldstücke. Na gut, 35, aber nur, weil du so ehrlich guckst.
Ah, a connoisseur! I can tell by the boots. This amulet belonged to a real king. For you, only 40 gold pieces. All right, 35, but only because you look so honest.
Ich kämpfe nicht für Könige und schon gar nicht für Ideale. Ich kämpfe für Geld. Aber für dich würde ich es ausnahmsweise umsonst machen. Erzähl das bloß keinem.
I don't fight for kings, and certainly not for ideals. I fight for money. But for you, just this once, I'd do it for free. Don't tell a soul.
Du hast dich ganz allein durch all meine Leute gekämpft, den ganzen Weg bis hier oben. Beeindruckend. Genau so hatte ich es geplant.
You fought your way through all my people, all alone, all the way up here. Impressive. Exactly as I had planned it.
Man sagt, der Winter kam in jenem Jahr nicht aus dem Norden. Er kam aus den Herzen der Menschen. Und als das erste Dorf brannte, fragte niemand mehr, wer zuerst gelogen hatte.
They say that year the winter did not come from the north. It came from the hearts of the people. And when the first village burned, no one asked anymore who had lied first.
Want one of these voices in your game? My own voice sessions start at €180, recorded the same week in Berlin. Full casts I quote per project.
Get a quote
German voice work has a reputation for being expensive. Most of that cost comes from structure, meaning rented studios, agency margins and project managers between you and the people doing the work. I work without all three, and the translator and the engineer you talk to are the same person.
In numbers: translation €0.10 per word, editing and proofreading by a second linguist another €0.05, voice sessions from €180. Full casts quoted per project.
Cheaper than this usually means nobody is answerable for the German. That kind of writing reads wrong to players, lands in your Steam reviews, and gets redone properly later. The rework, and the reputation hit, cost more than doing it right the first time. I give no match discounts either, because every string gets full attention, whether the memory calls it a fuzzy match or not.
Worked example: a 30,000 word script lands around €4,500, a 60,000 word one around €9,000, translated and edited, quoted within 48 hours. A 60,000 word project realistically takes 2 to 4 weeks. If you are not sure about fit, get a free style sample of up to 1,000 words, translated the way your game would ship.
Get a free style sample Get a quoteEvery line is performed by a human actor and engineered by hand in Pro Tools, mastered to broadcast loudness standards. The German text carries my name. I write or rework every line myself, at full rate and without match discounts, and I answer for it. If a synthetic voice would do the job, you do not need me. Everything else is what I built Elandir for.
You work with me directly. When a project needs more voices than mine, I bring in colleagues I have worked with for years.
You send your word count and your strings in whatever format your pipeline exports, and Excel, CSV, JSON and PO are all fine. You hear back within 24 hours and get a fixed quote within 48.
I translate, adapt every spoken line to its timing and its scene, build the glossary as I go, and keep a query sheet running so your writers answer each question only once. A separate editing pass by a second linguist, someone who did not translate the script, then catches every inconsistency before anything reaches recording.
We cast together from my network. Small casts I record in my Berlin booth, larger ones I direct live while each actor records in their own studio. If you book a studio instead, I come in as your recording engineer and run the session there.
You get clean files named to your convention, mastered and ready to drop in. On request I add a proper LQA pass on the implemented build, tracker-based and logged with severity levels, at €40 per hour.
Elandir launched in 2026, but the work behind it goes back years. I shipped these as a freelance translator, dialogue adapter and recording engineer, contracted by studios and localization houses across Europe. On Gears of War: E-Day I am also one of the German voices. Some put my name in the credits, some did not. The recording work for Anakan and Altagram is not listed here at all, because those titles are under NDA.
Read: Why German localization pays for indie games →
If you are sourcing a German linguist for a client project instead, rates, throughput, CAT tools and onboarding are on one page →
Your game could be next on this list. Send your word count and get a fixed quote within 48 hours, or a free style sample first, up to 1,000 words.
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Elandir is Moritz Seipke. German is my first language, and I translate into it, adapt into it and speak it. I have been translator and dialogue adapter on more than fifteen shipped games. I was recording engineer on Kingdom Come: Deliverance II at GlobaLoc Berlin, and I engineer AAA sessions for Anakan (Lionbridge Games) and Altagram, where the titles stay under NDA. I am a voice actor with a treated booth and a Pro Tools rig three steps from the desk, and you can hear me in the German version of Gears of War: E-Day. I am based in Berlin and have worked with studios worldwide since 2018.
This is a one-person operation on purpose, with no project manager in between. I quote the job, adapt the lines and sit at the desk when it gets recorded.
Translation runs €0.10 per word, and a full round of editing and proofreading by a second linguist is another €0.05, so a 30,000 word script lands around €4,500 translated and reviewed. My own voice sessions start at €180, for narrators, NPCs and trailers recorded the same week in Berlin. Full casts I quote per project, with casting, remote direction and mastering in one number, and in-game usage always included flat. Trailers and ads are quoted separately. Send me your word count and you get a fixed quote within 48 hours.
Yes. Solo I translate about 15,000 words per week, which keeps the German consistent. When the wordcount is large or the deadline is short, I scale up with a vetted team of up to 10 translators, then run a single editing pass across the whole script so it reads as one consistent version. The largest project shipped this way is an unannounced AAA title with over 100,000 words, so programs of that size and beyond are welcome. A 60,000 word project realistically takes 2 to 4 weeks. You get the throughput of a team with one person accountable for the result.
That is a fair question to ask any small vendor. Three things protect your ship date. Deliveries are staged, so finished batches are already on your side. You hear about any problem fast. And if I am out completely, a vetted colleague from the same pipeline picks up at the exact segment, while I stay accountable for the result.
I never use AI voices. Every line is spoken by a human actor and engineered by hand in Pro Tools. On text, you buy authorship. I write or rework every German line myself, at full rate and with no match discounts, and I answer for all of it. Nothing ships that I have not been through myself. Larger projects scale with my vetted team of up to 10 human translators, then a single editing pass across the whole script. If you are shopping for a cheap machine-translated pass with a light patch, that is not what this is.
memoQ is my usual stack, and Gridly, Phrase and Crowdin work too. Translation memory and termbase handling is included, and every asset is handed back on request. I do not give match discounts. Every string gets full attention, whether the TM calls it a fuzzy match or not.
Yes, always before any strings change hands. We can use your template or mine, and if your studio does not have one, I bring my own.
Germany is one of the largest games markets in Europe, and German players buy and review in their own language. A good German version regularly pays for itself, while a bad one shows up in your Steam reviews.
Yes, that is the core of how I work. Small casts I record in my own booth. Larger casts I direct live while each actor records in their own studio. We connect over Source Connect, Zoom or SessionLinkPRO, whichever fits the actor's setup.
Two revision rounds are included in every project. Deliveries are rolling, so you can flag revisions early instead of discovering everything at the end. Approval starts with you on every batch; once you trust the voice, I can run sign-off autonomously if you prefer. And before a large project, a style sample translation of up to 1,000 words is free.
I need a word count and your files in any common format, be it Excel, CSV, JSON, PO or whatever else your pipeline exports. Context materials such as builds, screenshots and a glossary help. If you have no glossary, I build one as I go.
For anything else, ask me on the call, or send your word count for a fixed quote within 48 hours.
Get a quoteThere are two ways to the same number. You can talk it through on a call, or send your details by email and get a fixed quote within 48 hours.
I currently have remaining capacity in the current quarter for small and large projects, and for long-term collaborations.
Book a thirty minute call and walk me through what you are building. I tell you what a German version would cost and how long it takes, and the conversation is free.
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This works without a call. Send me your word count, your target date and the format your files are in, be it Excel, CSV, JSON, PO or whatever else your pipeline exports. I reply within 24 hours, and you get a fixed quote within 48.
If you are not sure about fit, get a free style sample of up to 1,000 words, translated the way your game would ship.
Get a free style sample Request a quote by emailOr write directly: E-Mail. Replies within 24 hours.