Arash Ahmadi wrote: ↑
Wed May 29, 2019 12:44 pm
How do we manually compress? and why should a radio version be more compressed?
When the dynamics are not a general problem, the variations are occasionally extreme but generally okay, then just automating the few problem areas will be a less intrusive method. The old trick with vocals to avoid unwanted heavy compression was to bounce from one track to another while riding the vocal fader. Then much of the work is already done and the compression becomes about enhancing the vocal rather than keeping it in line. But the variations on a CG are usually too local and brief for this method to be useful. Note by note automation is a gift from the gods for the amateur player recording themselves. It's very easy on any DAW.
Radio versions are compressed for reasons to do with both audibility and loudness. The station will have its own system compressing the output in the stations's style, but there is a view, or used to be, that louder and more squashed versions sound better on radio, This is music and station dependent, a matter of fierce opinion and anyway times change. Thankfully It seems the loudness wars are nearly over. For radio mixes of club tracks dynamics would be one of the issues. You could check out parrellel or 'New York' compression for what happens when this idea is taken to the limit.
I've been experimenting with recording CG for a few years now, coming at it from all sorts of angles. As a solo instrument I've come to think that any compression at all spoils the sound of the CG. There are very few rules to follow and it's all about the sound you're after. In a pop track the CG can be compressed to within an inch of its life and sound wonderful.
Come to think of it, I've never tried parallel compression on CG. I may give it a go.