the affair nyc

Following is the first set of responses from David Rivel, the executive director of City Parks Foundation, a nonprofit group that organizes free arts, sports and education programs and activities in New York’s parks.
Question:

Is there somewhere that the public would be able to suggest or persuade you to bring talent that we’ve seen abroad from developing countries? I know that SummerStage has brought over a few artists that are well known from countries like Senegal or Mali, but there is one that I think is amazing and I know the diaspora and other fellow fans would love to see.

— Posted by Jennifer

Answer:

We welcome input from the public about artists, art forms and styles they would like City Parks Foundation to showcase. Send your suggestions to talent@summerstage.org, and we’ll be sure to take them into consideration. The neighbors around Crotona Park in the Bronx, for example, told us they wanted to hear some classic hip-hop, so we are bringing D.J. Kool Herc — one of the first hip-hop D.J.’s — for a show on June 30. What makes the show even more appropriate is that D.J. Kool Herc grew up and honed his art in the very neighborhood where the June 30 show is being presented.
Question:

It seems that there are more and more events, particularly for children, in Riverside Park and Central Park as the West Side in particular and Manhattan overall become more and more affluent and residents are easily able to afford entertainment, country homes, etc.

In times of scarce resources and cuts in services in the outer boroughs, is there any consideration of redirecting events to areas of real need? That is, focusing resources in the outer boroughs – not Riverside or Central Park.

— Posted by Kate
Answer:

That’s a great point, and your observation was, in large measure, why City Parks Foundation was founded in 1989. The organization’s founders believed that Central Park and the other large, famous parks of New York would always have advocates, financing and programming. City Parks Foundation was created to focus on all the other parks in the city. There are actually 1,800 parks in the five boroughs — a number that surprises even knowledgeable New Yorkers — and City Parks Foundation focuses its efforts on those parks, especially those in low- and moderate-income neighborhoods, that would not have any programming or community involvement without our support.

Today, City Parks Foundation works in more than 750 parks in all five boroughs, bringing arts and cultural programs, free sports instruction, education programs and community-building initiatives to more than 600,000 New Yorkers every year.

Yes, our largest and most famous program, SummerStage, has been happening in Central Park for 25 years, but we’ve been presenting concerts in other parks around the city since 1990, and dance and theater programs since 2006. This year, in honor of our commitment to neighborhood parks, we have rebranded all of our arts programs under the banner of SummerStage, thus making the point that the work we do in neighborhood parks is just as important and just as vital as the work we do in Central Park.
Question:

Any plans for more reggae music this year?

— Posted by Ethan
Answer:

City Parks Foundation gets this question all the time — with the word “salsa” or “gospel” or “jazz” or one of myriad other art forms substituted for “reggae.”

We consider ourselves to be the arts organization that programs for all of the various communities and all of the various people of New York City. Obviously, we are a diverse place, so the list of what we feel we must present is quite long. We can’t get to everything every single year, but over a cycle of two or three years, almost everyone in New York City — no matter what their artistic tastes — will get a chance to experience something that means a great deal to them personally.

Last year, our big reggae show was Alpha Blondy, and this year we are absolutely thrilled to have one of the kings of reggae, Jimmy Cliff, on July 11 in Central Park.

We also feel a commitment to New York City artists and arts companies, which is a big part of the reason we expanded our dance and theater programming five years ago. We knew there were many small and mid-size New York City dance and theater organizations that needed space to perform and wanted to connect with new audiences. Showcasing these companies is not only a treat for the audiences that get to see them for free, but also, we hope, good for the companies themselves.
Question:

I am upset that NY State parks are closing. This means federal aid will not be given. I pray more New Yorkers will be able to find work. However, the state parks are a vacation retreat for so many middle-class and lower-income families. I am also quite concerned the state budget is being handled by a few, behind closed doors. This is an injustice to the people of NY State.
I look forward to voting for a more responsible governor.

— Posted by Cynthia J. Westerfield
Answer:

It is a shame that the state is currently unable to keep its parks open. Hopefully, when the state budget is ultimately passed, there will be funds to support those spaces.

Fortunately, the overwhelming majority of parks in the five boroughs New York City are owned by the city, and there are no plans to close them. One major advantage that the city parks have is that they have organizations like City Parks Foundation that raise private funds to supplement the city’s tax dollars that are spent on parks. New York City is a model for such partnerships, in fact, and cities across the country and across the world are always asking us how they can replicate what we do here.

Even beyond the private dollars that are raised for city-owned parks, however, is the incredible level of community involvement in those parks. It is inconceivable that a neighborhood park in New York City would ever be closed. Can you imagine the outcry from the various friends groups and users of the parks?

It is, in fact, an important part of City Parks Foundation’s mission to help build that community involvement and get neighbors productively connected to the life of their park. Presenting programming in parks — whether it be cultural performances, sports instruction or environmental and other education programs — is a key way to get people involved in their park and to foster that vital connection between people and their parks.

(from http://cityroom.blogs.nytimes.com)

In the brightness of morning, when the sun glints off the gushing fountain, or at twilight, as people cross the travertine on their way to performances, the plaza at Lincoln Center can be one of New York’s tranquil oases.

Unless, of course, you’re an insurance executive who sees instead the potential orthopedic calamity created by the convergence of splashing water, polished stone and big crowds.

People fall down at Lincoln Center once in a while, just as they do at shopping malls and sports arenas and many other great public spaces in New York.

But if someone were to slip, say, on the steps at the Metropolitan Museum of Art, or the walkways of the New York Botanical Garden, or the entrance to the Brooklyn Museum, New York City would not have primary liability even though it owns the land.

Thirty-two of the 33 cultural organizations that operate in city-owned buildings or on city-owned land have long agreed to indemnify the city against liability for slips and falls and other stumbles.

Only Lincoln Center has not been governed by that policy.

But now the city is demanding that Lincoln Center join the others in assuming liability for its public spaces, a change that the institution is strenuously resisting. The shift would cost money at a time of budget challenges — by one estimate, at least $1.4 million a year, though precisely how much is unclear.

According to the City Law Department, the city payouts for claims involving Lincoln Center’s outdoor public spaces during the last 10 years have been about $200,000 to $250,000 a year, not including costs like city lawyers’ time.

The standoff coincides with the $1.2 billion redevelopment of the Lincoln Center campus, an ambitious overhaul that largely focused on the public areas, like the fountain plaza and the West 65th Street corridor, home to the Juilliard School, Lincoln Center Theater and the Film Society of Lincoln Center. On Wednesday Lincoln Center announced the opening of some of its completed new public spaces, including a grand entrance stair up to the fountain plaza.

“Lincoln Center is the only cultural organization using and maintaining public space that has been indemnified by the City of New York rather than being responsible for liabilities arising from that maintenance,” said Kate D. Levin, the commissioner of cultural affairs.

Negotiations have been going on since the center’s agreement with the city expired last year, according to officials on both sides. Lincoln Center’s redevelopment — to which the city has committed $240 million — has arguably increased the institution’s exposure by expanding the public areas. The project has included enlarging the 65th Street sidewalk, creating a sloping grass roof above a new restaurant in the north plaza — which opens on Friday — and adding bleachers outside a newly renovated Alice Tully Hall.

And the average passer-by can notice that the refurbished fountain now often sends the jets of water farther afield.

Lincoln Center says it should not be penalized for these enhancements. If anything, its officials argue, Lincoln Center should be rewarded with additional city assistance for having added new areas and improved existing ones.

Reynold Levy, the president of Lincoln Center, declined to discuss the issue because of the negotiations with the city.

The talks have been amicable, both sides said. “The city has long supported Lincoln Center financially through capital contributions and through programming partnerships,” said Adrian Benepe, the parks commissioner. “It’s a reasonable group that we feel an affinity for. We’d like to be resolved soon.”

Liability is a major municipal expense. In the 2009 fiscal year, the last year for which a final tally has been completed, the city, which is self-insured, paid about $40 million in settlements and judgments that arose just from cases filed for injuries suffered on sidewalks, according to the comptroller’s office.

The city-owned land at Lincoln Center includes the fountain plaza, the perimeter sidewalks and Damrosch Park, the square of green between the Metropolitan Opera and the David H. Koch Theater, which is home to New York City Opera and the New York City Ballet.

Under the city’s proposal to Lincoln Center, it would retain primary liability for some of the public areas, like the sidewalk on West 62nd Street.

It is unclear why Lincoln Center has its particular arrangement. The exception dates to 1993, when the center’s license agreement with the Parks Department was renegotiated and the indemnity provision was reversed so that the city began indemnifying Lincoln Center. Officials said they could not immediately provide the rationale for the change.

The cultural organizations on municipal land around the city all have their own arrangements with the city about where the liability line extends, although they are a bit skittish about discussing it, lest they invite a rash of feigned falls.

“The Met as a practice never discusses security or insurance,” said Harold Holzer, a spokesman for the Metropolitan Museum.

But the longstanding agreement is that the Metropolitan is responsible for its staircase and for its sidewalk plaza, including the fountains. At the American Museum of Natural History the museum indemnifies the city for anything above sidewalk level, including the entrances and stairs, but the Parks Department maintains the sidewalks and parks. At the Brooklyn Museum the entrance plaza, the fountain and the perimeter sidewalk are maintained by the museum, which indemnifies the city.

Lincoln Center officials would not estimate how many claims involving its public spaces were typically filed. But Thomas Pietrantonio, a lawyer for a retired real-estate broker who slipped and fell near the fountain in 2005, said the city told him then that it had fielded about 30 similar claims involving areas of the Lincoln Center property over the previous five years.

The case involving the retiree, Gayle Fox Weinman, who was on her way to see a performance of New York City Ballet, is continuing.

“Before Robert died, I promised him I would one day write our story,” Patti Smith writes in the acknowledgments of her 2010 book,  Just Kids.

“I kept my promise,” Smith said in a Tribune interview. Smith, 63, is one of the elder stateswomen of rock, whose groundbreaking 1975 debut “Horses” leads off with the provocative lines:

Jesus died for somebody’s sins but not mine …

My sins my own

They belong to me, me

Not a technically great singer, Smith was known for her lyrical poetry, as evocative as that of her idol Bob Dylan, but also imbued with the intensity of New York’s underground music scene. That same gift for details, as well as eulogy, is at work throughout Just Kids , which is as much a memoir of her relationship with the late artist Robert Mapplethorpe as a memoir of New York City in the 1970s.

“There are certain things about New York City that will always be New York City,” Smith said. “I love the freedom. But the sad thing is that what attracted so many was that it was so cheap and artist-friendly. It’s a less welcoming place for young people [now]. That’s what I mourn. It should welcome the young artists, and the poor, and not the tourists and upwardly mobile.”

In 1967, the 21-year-old Smith moved from Philadelphia to New York City to live with friends. Upon reaching the city, she found her friends had moved, leaving her homeless, jobless and hungry.
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She soon met Mapplethorpe, an aspiring visual artist and photographer.

In an interview, Smith is coy about any romantic relationship with Mapplethorpe. But she believed in his artistic vision, and he in turn, believed in her, as they set out to make names for themselves in their adopted city.

“Robert, for me, was so kind and supportive,” Smith remembered. “He was very protective. He liked people who were intelligent and had strong character. We gave to each other. We passed our strengths to one another. He was more ambitious for me than I was.”

The loose narrative of the book traces the creative and artistic stumbles and leaps of the pair through the tumultuous 1970s, as both strived to make their marks on popular culture. The memoir ends, sadly, with Smith’s grief over Mapplethorpe’s death.

Mapplethorpe became the focus of headlines in 1989, after Washington, D.C.’s Corcoran Gallery of Art agreed to host a traveling solo exhibit of the photographer’s works. Mapplethorpe planned to exhibit stylized black-and-white portraits of flowers and naked men with a frank homoerotic subtext. The museum refused to run the exhibit, triggering a national controversy of what constituted art and whether the public should subsidize art; the National Endowment for the Arts had funded Mapplethorpe’s work.

“The controversy was aimed at just a segment of his work,” Smith said in defense of Mapplethorpe, adding that he should have earned praise and headlines for his art.

Mapplethorpe, 42, died in a Boston hospital in 1989 from complications arising from AIDS. Before he passed away, Smith told him that one day she would write about their story.

“What took me so long was losing a husband and a brother and raising children,” Smith said. “It was sometimes painful to write. At last, I have become so much stronger, and it was the right time.”

Brooklyn: home to artisanal beer, artisanal cheese, artisanal meats. These days the weekly Brooklyn Flea market is overrun with artisanal pickle stands. Now comes artisanal booze.

Thanks to a pair of changes to New York’s liquor laws over the last decade, craft distillers—including Tuthilltown Spirits, Warwick Valley Winery & Distillery, and Finger Lakes Distilling—have been cropping up across the state. The original idea was to promote state agriculture by letting farmers distill their grains: depending on the state of the commodity markets, a better proposition than selling them outright.

But you don’t have to be a farmer to set up a still. As long as the bulk of your ingredients come from in-state, craft liquor licenses are practically free. You don’t even have to be located on a farm. You can set up shop in the heart of Brooklyn, which is what three new distilleries—Breuckelen Distilling Company, New York Distilling Company, and King’s County Distillery—have been busy doing over the last several months.

Breuckelen Distilling Company

Breuckelen Distilling, like New York Distilling, is starting off with gin. It may not be the sexiest liquor right now, but Brad Estabrooke, founder and sole employee of Breuckelen, said gin is a good beginner’s quaff: “I needed it to be something I could sell immediately, but also something I could be creative with.” Gin requires a straightforward distillation process and no aging, but it also has a broad palette of botanical and grain flavors that make it a lot more fun to distill than vodka or moonshine.

Estabrooke got laid off from his finance job in late 2008. Casting about for a new career, he saw an article about craft distilling in an in-flight magazine. He’d already given a thought to going into winemaking, but vineyards don’t exactly grow in Brooklyn. Plus, he said, the idea of mixing and manipulating ingredients and flavors to make gin appealed to him. “You really are crafting with botanicals, instead of just trying to screw up grape juice as little as possible, like you do with wine.”

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In early 2009, he started raising money and looking for a production site, finally settling in a corner of southern Park Slope. The tough part, Estabrooke said, was learning the craft and finding the right equipment. Since in most of the country craft distilling has only recently been legalized, there’s little in the way of formal training available for the startup gin-head. “There’s no great book on distilling,” he said, standing in the middle of his spacious facility. Breuckelen is located in a former boiler room that, thanks to a few coats of whitewash and a massive skylight, is surprisingly bright and airy, with just a faint, pleasant mustiness floating over from the sacks of wheat piled on an industrial-strength shelf.

Fortunately, craft distillers are a common sight in Germany, where every farmer is allowed to have a 150-liter still, and where three of the world’s leading still manufacturers are located. Estabrooke ended up with a 40-liter still—a beautiful copper tower, visible through the plate glass windows of his new digs, sitting on a concrete plinth like an altarpiece—from Kothe, a German manufacturer with an office in Chicago. Kothe not only offered to set up the still for him but also invited him to its offices to take a course in distilling.

New York Distilling Company

Estabrooke’s one-man operation makes New York Distilling look like a mega-corporation. But New York’s advantage isn’t size—after all, its employees can still be counted on one hand—but its provenance. The brains of the operation is Tom Potter, the co-founder of Brooklyn Brewery and one of the patriarchs of the East Coast craft brewing family.

After selling most of his share in Brooklyn in the mid-2000s, Potter had planned for a life of leisurely retirement. But a few years ago he started visiting distillers on the West Coast, and like Estabrooke he hatched the idea of opening a craft operation in Brooklyn. It made sense—not only did Brooklyn have a great locavore culture, but it has a history of distilling: until Prohibition, distilleries sat thick along the Brooklyn waterfront, making vast quantities of gin and rye whiskey.

Potter is not someone to do things halfway. He and his son, Bill, teamed up with Allen Katz, a legend in the cocktail world and the head of spirits education for Southern Wine and Spirits, a local alcohol distributor. They roped in Jason Grizzanti, a respected distiller from upstate New York’s Warwick Valley Winery and Distillery, as a consultant. They even landed Milton Glaser, the graphic artist behind the iconic “I Love NY” campaign, to do their labels.

The New York Distilling team went with a 1,000-liter still from Christian Carl, and they are in the process of building their distillery in Williamsburg. Like Estabrooke, Potter decided to start with gin—not only because it is quick to produce and fun to play around with, but because the resurgence in cocktail bars is giving serious gins a second wind. “Bartender culture at the high end is a much different animal than it was 10 years ago,” he said.

Potter said that after gin he’d like to try other liquors, particularly once-common New York drinks like rye whiskey. “It’s the traditional whiskey of the northeast United States, but it suffered a long decline,” he said. “Most people don’t appreciate how good it is. The inherent flavors of rye are more interesting, more complex than most other grains.”

King’s County Distillery

Estabrooke and Potter are playing it safe with gin, but the guys at King’s County Distillery have no such compunction. Working out of a small office in a converted industrial loft near Newtown Creek—the heavily polluted waterway that separates Brooklyn from Queens—David Haskell and Colin Spoelman are putting the finishing touches on their recipe for white dog, the sweet, crystal-clear liquid that, when aged, will produce the city’s first whiskey since Prohibition.

Unlike Estabrooke or Potter, King’s County didn’t go overseas for a fancy copper still. Instead, ranged along a wall are five magnetic resonance hot plates, atop which sit five stainless steel pot stills—imagine two oversized metal flower pots, stuck together at the mouths. As the mash inside boils, the vapor goes up a thin pipe and condenses, just like in a regular still. Against the room’s opposite wall sits a stack of small oak barrels; in a corner is a box of old-fashioned medicine bottles. There’s barely room to sit.

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This is garage-band distilling. Both men have day jobs—Haskell is a magazine editor, and Spoelman is a writer for an architectural firm—so they do their distilling at night and on the weekends. Though Spoelman grew up in eastern Kentucky, he said he didn’t think much about his region’s moonshine heritage until he went back recently for a film project and returned with a jug for some friends.

From there it was only a matter of time before he and Haskell, a pal from college, decided to give whiskey-making a shot. “The whole thing is just to make something for our friends to enjoy,” Spoelman said. “It’s not about conquering an industry.” For now, they’ll be selling through bars and wholesalers, as well as their Web site.

All three distilleries recognize that the rise of cocktail culture and the explosion in craft manufacturing in New York make it the perfect time to attack what has been, until recently, an industry dominated by a few multinational corporations. “If you look at how coffee changed over the last 30 years,” Spoelman said, “Folgers could keep making a crappy product because it had no competition. Then Starbucks came along. That’s the same thing happening with distilleries.”

True, there are still dozens of great liquor brands, but Spoelman has a point. Consolidation and cost-cutting have turned all but the best distilleries into slaves of the lowest-common denominator of consumer tastes. How else to explain the near-infinite range of vodkas—a nearly flavorless, colorless, odorless distillate that happens to go great with cranberry juice and soda?

In that kind of a market, micro-firms like these don’t have to sell much to succeed. “For me to do better than my wildest dreams, I only have to take a small share of the market,” Eastabrooke said. And who knows? With a player like Potter involved, someday people may be talking about Brooklyn liquor the way they talk about Napa wineries.

Sarah Jessica Parker says ‘time away with the girls’ helped her know her fellow SATC stars even better

“Sometimes you just have to get away with the girls,” Sarah Jessica Parker’s Carrie Bradshaw quips as she and the quartet of glamour gals embark on the road of excess to Abu Dhabi in Sex and the City 2, opening May 27.

But the sentiment also rang true with her personally, said Parker, as she and the rest of the quartet answered questions in what can only be described as their characters’ natural habitat: the shoe department of ultra-chic and unbelievably expensive Fifth Ave. retailer Bergdorf Goodman.

Parker, Kim Cattrall, Kristin Davis and Cynthia Nixon, along with Chris Noth, who plays Carrie’s husband, Mr. Big — now known as John James Preston — and the movie’s writer-director Michael Patrick King, shared their thoughts on making round two of the successful film franchise on Sunday.

Shooting in the Moroccan desert (the North African country stood in for Sex-shy ultra-conservative Abu Dhabi, which turned down requests to film there) helped her get closer to castmates, said Parker, a trio of women she calls “thoroughbreds.”

“I got to live with this cast,” Parker observed. “We were removed. We were shooting outside of the country and we’ve never done that and we had this chance to live together and know one another in a way we’ve never had an opportunity to do in New York.”

Living in the desert for weeks meant that the women didn’t have the distractions of home and family, Parker explained. She and husband Matthew Broderick have a 7-year-old son James Wilke, and twin daughters, Marion Loretta Elwell and Tabitha Hodge, who were born to a surrogate last year.

“In New York we go home to our friends and our family and our children and our animals. For me, it just changed everything (to be in Morocco) and I came away loving them more than I ever have because I got to see them in a new way and I was so reliant on them,” said Parker of the women she began working with when the HBO cable show Sex and the City premiered in 1998.

The show, with its witty dialogue and frank examination of sex, love and relationships, careers and living the single life post-30, spawned a whole new and glittering culture in its six-season run. The cast reunited in 2008 for a feature film that raked in more than $152 million.

The series was also responsible for launching new fashion trends and hot designers, thanks to the show’s costume designer, Patricia Field. (Field is back for SATC2 with a designer clothing and jewellery budget that is rumoured to be a staggering $10 million.)

The opening scenes of the movie were shot in Bergdorf’s amid its famous mirrored art-deco mirrored cases as the four friends shop for a wedding gift for their gay best friends, Anthony Marentino (Mario Cantone) and Stanford Blatch (Willie Garson).

Amid the high-priced heels of the shoe department, the four women who sat perched in tall director’s chairs were stunning, each in different designer wear. Cattrall was in a deep blue one-shoulder dress that clung to her slim curves, while Davis wore a leopard print full-skirted dress with a fitted sleeveless bodice. Nixon had a spring-influenced 1950s floral dress from New York Vintage — the same West 25th St. showroom that rented out wardrobe items to Field for both the series and movies, including the striking love it/hate it blue feathered headpiece Carrie wore at her failed wedding to Mr. Big.

As for Parker, the tiny actress (she can be no more than 5-foot-3, although she was wearing amazing six-inch glittery Louboutin sandals) was dressed in a poufy floral skirt and shimmery silver-beige, lacelike jacket shot with miniature crystals over a hot pink bustier. Her eyelids were layered with glittering opal shadow that wouldn’t have looked out of place on a headlining drag queen.

They looked like four rare and exotic creatures — just the kind of fashionista fantasy that fans can’t seem to get enough of.

In the two years since SATC hit the big screen, Carrie and her pals have been forced to rethink their ideas about marriage (in Carrie’s case), motherhood (for Charlotte), career (for lawyer Miranda) and aging (sexy Samantha is dealing with menopause).

Like Parker, Davis said the idea of getting the women out of New York not only helped the characters relate to each other, it added a new dimension to their friendship. (There had been rumours of rifts among them in the past, tensions Parker and the rest have denied.)

“That’s what was wonderful about going away,” added Davis “The girls get to go away and get to a deeper place together.”

The four even celebrated American Thanksgiving together.

“We worked on that day because in Morocco they don’t celebrate Thanksgiving,” explained Davis.

“Apparently neither does Warner Bros.,” deadpanned Parker to raucous laughter from the cast. “Now I’m in trouble,” she added with a giggle.

The cast and crew had a traditional Thanksgiving meal that night and another celebration on the weekend when their families flew in to join them, complete with apple and pumpkin pies and a snake charmer.

“It was Thanksgiving. We were thankful when he left,” said King with a grin.

King said shooting in the isolation of the Moroccan desert, including in the sand dunes where multiple Oscar winner Lawrence of Arabia was filmed in 1962, made for a real contrast to working in New York, where huge crowds gather to watch anything to do with SATC.

“We have New York which was here, Bergdorf’s, with thousand and thousands of people watching and it’s like an interactive theatre piece . . . I call that the celebrity petting zoo,” laughed King. “We went to Morocco in the middle of the Sahara Desert and not a sound, not a paparazzi, just the crew, the hot sun and us. It was a very different, bizarre and colourful time.”

Also “laborious and Herculean,” added Parker, who, like with the first film, co-produced SATC2. “But it was one of the great experiences of my professional life to live and work with this cast and crew . . . it was the most far-flung places to lie in bed all day with these women, to be on a camel with Kim Cattrall . . . ”

“Not many people can say they’ve done that!” Cattrall joked.

So audio mixing is about realistic mix-ups of arts. It is all on the creativity of the person who does the job. But in all cases, the purpose is to make the sound relevant to the videos. Overall, sound mixing is done to make more interesting to listeners.
Audio mixing is done in studios as part of an album or single making. The mixing stage often follows the multitrack recording stage and the final mixes are normally submitted to a mastering engineer. The process is generally carried out by a mixing engineer (a mixer), though sometimes it is the musical producer who mixes the recorded material.
Prior to the emergence of DAWs (Digital Audio Workstations), the process of mixing used to be happen on devices known as audio mixer, sound board, desk, or mixing console. In modern times, more and more engineers and independent artists are using a personal computer for the process (commonly referred to as mixing in-the-box).
In films
Audio post production has different usage. A major one is with ADR. This stands for Automatic Sialogue Replacement. There are times when the real production audio is not so good in quality issues. In those cases, the audio post production will go back to the drawing board. This part is very interesting.
The real actors and actresses are called into the sound studio. Then the record or sound or dialogues are re-recorded from them. This can have other elements too. Good examples are foley, music, as well as voiceovers- as these things are added at this point.
Audio post production is also a common part of acoustic music recording.

Audio post production can be described in a number of loose terms. But most commonly, it refers to the different production stages between the primary actual studio recording and the final master recording. In between the two extremes, an audio post production involves-
I.    Sound design,
II.    Sound editing,
III.    Audio mixing,
IV.    Effect additions.
Sound design
This happens to be a technical yet highly creative field. The person who does the ‘sound design’ is called the Sound Designer. Sound designing has nothing to do with compositions. So it does not deal with any film, play or music recording. Neither does it work with any gaming software or multimedia project. Sound designing is all about manipulating audio parts to give them special and desired effect.
Sound Editing
At this stage, the sound editor creatively selects and assembles different sound recordings. This is done to prepare the audio for a final stage of sound mixing (also known as mastering). This way, sound editing is useful on TV programs as well as motion picture.
Sound editing is widely used in video games. It is also used in productions that deal with recorded sounds or synthetic sounds. In general sense, sound editing is done when there is any need to repair imperfect, un-dramatic, and or technically low quality sound recordings.
For decades, sound editing has been a part of filmmaking art. When it comes to motion pictures, sound editing help the visual goals in creating a desired impression. The Academy of Motion Picture Arts is one of renowned names in sound recording.
Audio mixing
This is a process that involved mixing up a number of sounds. The idea here is to combine these recorded sounds into a channel or multiple ones. Thus you see the 2-channel stereo is very popular form of sound mixing. Here is how the process goes.
A source for audio mixing will signal a number of things. Most common signaled things are the level and frequency content. In addition, the source will also signal dynamic and panoramic positions. These are usually manipulated using audio editing technology. But the editor also adds different effects like reverb or eco.

about

New York City’s The Affair pounces onto the scene with their debut album Yes Yes To You. Since Kali Holloway (vocals, lyrics), Nelson Dellamaggiore (bass), Neel Arant (keyboards/guitar), Josh Leeman (lead guitar) and Marc Pattini (drums) first stepped on a stage together, the band has garnered respect and praise in both local and European music journals.

The Affair caught the attention of Vice Records, which in July 2004 released their first single, Honey, a song which showcased their ability to meld proto-punk and new wave allegiances with keen pop sensibilities. After a couple of years spent trolling through NY nightclubs, the band reappeared earlier in 2006 with a new single, Andy, on UK buzz label Marquis Cha Cha. Absolutely Kosher signed the band after chasing them around Austin at this year’s SXSW.

Lately, the streets of rock and roll seem cluttered with matching mod dresses filled with Swedes and Brits with their hair in bangs and Phil Spector in their lockets. The Affair tear through them like a flame. There might be girl groups in their rearview mirrors, but there are knives in their hands and lightning in their eyes. Faux finishing school poses and demure, wistful cooing have been demolished by soulful defiance. The “my boyfriend’s back and there’s going to be trouble” of yesteryear has been appended with “because I’m going to kick his ass for leaving.” Kali’s voice is bruised and angry but triumphant on Dead Letters, playful and sassy on Jailbait Date and positively flawless on Left At The Party. Her own lyricism is at once coy with a wink, but full of piss and vinegar. There’s not a vocal turn on the record where she doesn’t deliver. “Happy endings never interested me,” she wails on Swallow the Nights. If early press is any indication, the world might not abide her.

With a swagger in their sound that could only come from the five boroughs, the band channels bits of New York acts like the Shangri-La’s, The Ronettes, and Blondie. Throw in dashes of the Cars and the Runaways and distill them in gin and thorns, it give them a distinctly modern voice. The Affair personifies their very name, at once dangerous, timeless, immoral and ecstatic, illicit and sultry, conflicted and pure. This is one Affair in which you won’t mind getting caught.

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