Ender’s Game Alive!

Big fun this week as Ender’s Game Alive! has been released by both Audible and Brilliance. It’s gratifying after so many weeks of hard work. We got our 7 CD set in the mail but they must have sold out quick as Amazon now has a long wait period for orders. I doubt the wait period of 1 to 2 months is true but the best way to hear Ender’s Game Alive at this time would be to get it through Audible. Cool thing is, they are giving away the first 4 chapters as a sample! We are really stoked about this because it let’s you hear well over an hour of material for free so you can decide. Check it out if you have an Audible membership. If you don’t, sign up for Audible for a free trial:


Happy Holidays! Download a FREE audiobook today!

To check out the free chapters, go Here: Ender’s Game Alive! Free

Make sure you download from Audible in the highest quality format so you can enjoy all the stereo goodness. Life is just too short to listen to this thing in mono.
Ender's Game Post TeamHey all,

If you don’t know it yet, we finished post-production on the most massive project we’ve ever undertaken, Ender’s Game Alive! – The Full Cast Audioplay by Orson Scott Card. Card wrote this one himself and I have to say, he did a really wonderful job with it. If you’re into Ender’s Game, you’re going to want to hear this.

First of all, we’d like to give our undying graditude to Producers Stefan Rudnicki, Gabrielle DeCuir and all at Skyboat media for trusting us with this project! Special thanks also goes to Mike Charzuk, Wil Snape and Steve Feldberg over at Audible!

We assembled a great team here at 50 Nugget Wash to tackle this project. The project, which has over 160 scenes in 20 episodes was recorded at Marc Graue Studios in Burbank with over 40 of the best voice actors in the business. Many scenes were recorded with as many as 8 open mics so that the actors could perform together with sightlines. It made for a complex edit to say the least.

Editing was handled by Ted Scott and Nick Stecki.

Premastering and final Mastering was done by Ted Scott.

Sound Design was done by Heather Scott with assistance by Alexa Althoff and Ted Scott.

This program was mixed by Nick Stecki

Foley was recorded by Nick Stecki.

Foley art was coordinated and performed by Alexa Althoff, Heather Scott, Ted Scott and Nick Stecki with assistance from Shankara, Leela and Bhavani Scott.

Special props go to Gabrielle DeCuir for her awesome ears, attention, suggestions and availability, Stefan Rudnicki for coordinating the music placement and for rocking steady as always, Alexa for designing the war simulators on Eros and coordinating martial arts Foley and design for Eros, Heather for the extremely difficult Mind Game sequences and Shower room battle Foley as well as the dreaded task of QC’ing the mono sum, Ted for mapping out all of the room tones from Earth to Eros and designing and mixing the Arcade and Nick Stecki for pretty much everything else including our ever important first entrance to the battle room, boom, bass drops, tree planting and the ever present “German Dying”.

We’d like to thank our kids who can be heard  careening across the battle room with their shouts of Toguro! and our parrot Grazy who was patient and a little sad when his laser gun foley ended up on the cutting room floor.

Huge thanks goes out to Rusty Beith who basically saved the project when the great flood struck Longmont on September 11th. We could not have weathered the storm without you, Rusty!

BTW, if you’re so moved, please consider a donation to help the city of Lyons http://lyonscf.org/ or Longmont http://www.longmontfoundation.org/ or any other affected city on the front range. Many people were far less fortunate than we were and lost everything.

Technical details to be updated:

We’d like to give a shout out to Soundsnap.com which was and has been our primary library of sounds.

Our guerilla Foley art was recorded at 50 Nugget Wash studios in Longmont and Mitchell Lake in the Indian Peaks Wilderness of Boulder County with a Zoom h4n, a Sennheiser mkh 415, an Audio Technica AT2020 and a matched pair of Rode NT5 sdc mics.

We used Native Instruments GuitarRig 5, Izotope RX2, Waves GTR3 and Maxx Renaissance suite copiously.

ProTools 11 offline bounce and new free .mp3 bouncing saved us an uncountable number of hours during the edit.