ent000504-005

05/28/1997 17:48 671-649-8221-6497262 BGI AND SANDCASTLE PAGE 03 rranqois w9?╜ron W K*g?╜r-> (300)219-091$ 0335/27/97 ??5:43PM 32/7 Design: 4121 Custin Ave, i?╜ ve$as, Nevada, 89120 Ptu: 702) 4S6-7C21 Pa*; (70S) 456*8267. D**igrr. 3740 Lankershim Blvd., Lcs Angel**, California 90066. PfVi ($18) 506-1527 Fax; (61S) S0*$O7O. A^miniftration: 11 s2s Ventura Blvd., suite 9, swclo Cfty, California 91604 Pn.:(319) 50<M 527 Fax: (-919) S0$-$s>7C These are a couple of the things to consider. Other ideas come to mind to help you get the best out of your system, your room and your show. The SIM II analysis is a great tool to do that. It will show the problems inherent to the room and will tell us how to minimize them by using the best equalization possible. One of my additional tool in my bank of ideas, is to use the construction plans of the venue I would like to see which materials were used and produce a computer version of the theater m 3D using the dimensions of the plan and section views This is necessary for me to generate a complete analysis of the room (using a software called EASE, Electro-Acoustic Simulator for Engineers) BEFORE I get to the theater From there, I can show you (on a piece of paper instead of vague words ..) how I plan to maximize the intelligibility by minimizing the room nodes, standing waves, comb filtering and audio discrepancies between each sections, tables and even seats of the venue I am a certified SIM II, EASE and EARS operator (Electronically Auralized Room Stimulation - you can ear how the room will sound before it is built therefore saving money). We own a SIM II machine with an 8 microphones switcher and a completely portable mixing studio and SFX design facility (with more than half a million sound effects that we bring with us). Only one of these system can be built and we use it to do the final on-site mix and sound effects for our shows. I realized that I never sent you any information on myself or Real Time Audio and what we do for a living. I was given the "1996 Sound Designer of the year" award by Theater Craft International (TCI) and Lighting Dimension International (f CI) Following this letter, you will find a brief resume of our activities and a list of the equipment I can bring with me to analyze the room, mixdown the show and complement the sound design I am in Oakland until the 31st, following up on my design work for Cirque du Soleil's new show called "Quidam" It would be possible for me to meet Mr. Saad on June 1st, 2nd or 3rd at a location of his choice or at our Studio City offices (near Universal Studios in Hollywood). I would also like to meet Mr. Jackson (and the musical director- which, Vm sorry, I don't remember the name of/) at the same occasion in June I understand that Mr Jackson will not talk about the technical side of the show but I feel it is necessary for me to talk with him in order to understand the original intent If you can fax me the numbers where he can be reached, I can arrange a meeting with him and get a better feeling and understanding of "Fantastique" Original copy will; . V Not be sent _ Be Mailed __ Be sent by messenger or Express Delivery