How to Sound Vintage | From Modern to Retro | Andre Angelo | Skillshare

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How to Sound Vintage | From Modern to Retro

teacher avatar Andre Angelo

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

12 Lessons (53m)
    • 1. Introduction


    • 3. Collage Method Introduction

    • 4. Find Your Sounds

    • 5. Adding Sounds To DAW

    • 6. Basic Vintage Mix

    • 7. Audio Treatment

    • 8. Blending The Elements

    • 9. Limiting

    • 10. Template

    • 11. Vinyl by iZotope

    • 12. Closing

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About This Class

Welcome to my course on How to Sound Vintage! We'll learn how to take a modern, digitally recorded track and send it back through a time machine to the world of analog.

In this course, we cover many topics:

  • Finding Vintage Sounds
  • Adding Sounds to Your DAW (Digital Audio Workstation)
  • Apply Effects to Tracks
  • Blending Elements Together
  • Mastering and Exporting
  • Using a Vintage Emulating Plugin (Vinyl by iZotope)

With the course, I provide sound samples for students to practice on.

While there are some slightly technical aspects of this course, it is largely beginner friendly and can be followed along with using any DAW (Digital Audio Workstation) such as Studio One, FL Studio, Ableton Live, Logic Pro, Pro Tools, etc.

This course is perfect for Video Editors, YouTubers, Sound Designers, Music Producers, Podcast Editors, and many more. Being able to turn modern audio into something believably vintage is a great skill for many creators to have in their back pocket.

Thanks again for checking out my course!

Meet Your Teacher

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Andre Angelo


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1. Introduction: Hello. My name is Andre Angelo. And thank you for checking out my course how to sound vintage from modern to retro. In this course, I'll show you how to take any form of audio, whether that's, ah music file a voice over a podcast interview a sound effect and make it sound believably vintage. Let me show you a quick before and after of what we're gonna create. Almost have, uh, West Virginia almost have, uh, West Ridge Mountains. Life is old there older than the trees. Oh, like grease right off the bat. I just want to say this course is software independent. So if you use FL studio Q bass pro tools, whatever it is, that's completely fine. I'll be using Studio 13 but there's nothing in this course that's specific to Studio 13 So whatever you're using, it's completely fine. I just want to say that I'm not the first person to teach this course if you go on YouTube and you search how to make audio sound old, or how to make audio sound vintage whatever keywords you want to use, you're gonna find a huge amount of courses that teach this exact same thing. But my issue with almost every single one of these courses, is that they don't go into enough depth. They cut it too short. I try to teach this course as a creative endeavor. There's not just one way to do this. There's huge creativity and making something sound old. And we do this in two methods that we that I teach during the course. The first method is complete customization. We go through, we find vinyl elements, scratches, dust, quirky little sounds, noises, and we push them all together like a big collage. And you can use this as a template so you can plug in whatever auto audio you wanna make sound old and just keep reusing it. Once you've done that up front work, The second method is using a plug in to emulate vintage audio, and it's a lot faster, and it only covers about 10% of this entire course. But I want to show it in case you don't need full customization. You just need something fast and loose that works and then move on. This course is completely beginner, friendly, provided your fairly comfortable in whatever workstation you're using. You should able to follow along pretty easily in this course, I provide audio samples for for the students to practice on. So while I'm doing what I'm doing, you can have access to the same files I'm working on in the same elements I'm using. So you can experiment yourself and maybe do it a completely different way, which is fine. And then you can upload it in the class project. So again, thank you for checking out my course. I'm I love teaching this stuff. It's It's a lot of fun for me again. I'm Andre Angelo and hope you learned something. 2. Downloads: I mentioned this in the intro, but I just wanted to show it off once again with the course. I I included these files for you guys to use, so it makes it a little bit easier to follow along. So when the sample audio folder I have three music tracks, these two tracks here at the bottom were made by me, their little to kind of gaming Elektronik audio tracks that you can listen to on your own. And this is one of me singing, which you can listen to on your own as well. These, these are three. You can use your primary audio, or you could just, you know, use your favorite song or find a voiceover. Record yourself talking. It doesn't really matter what, but if you don't have anything, you could just use these, um, envious vinyl sound effects folder. These air all the sounds you'll see in a either the next video or the one after that. You'll see me finding all these sounds, and you can either just find, find them with me or use your own or find your own or use these ones I provide for you if you want to just keep it simple to follow along. I use every one of these files in the throughout the course. Um, maybe not all of them. I use most of them, though, so just to make things easier, you can use these files. You don't necessarily have to, though. And with this will be a pdf. You don't see it right here. But there is a pdf, and it basically is a reference file for, um, everything we cover in the course. So after you take the course, you can use this reference file too. Remember everything we covered without having to go back and watch every single one of the videos, you know, simplifies the process. So what? That said, let's move on to actually messing with some audio. 3. Collage Method Introduction: okay, Before we get into the execution of doing all this stuff, I just wanted to explain the concept of the collage method. So what's gonna happen is the first thing we're gonna do is find a bunch of audio elements . This could be white noise, deteriorated audio, vinyl sound, scratches, clicks, dust, things like that that we can use to make our audio sound vintage. Were they going to bring all of those elements that we've downloaded into our workstation? We're going to treat them all to make him sound exactly the way we want. We're then going to blend them all with our primary audio, which is the audio we want to make sound vintage. And then finally, we're going to master the thing by bringing it up to listening volume and doing a few more treatments to add a bit of flair. I know it sounds a little scary of what they were gonna do A lot of things here, but in these videos, I take it step by step. So don't worry about it. Okay, let's start working 4. Find Your Sounds: All right. So the first part of this collage method is to find all the sounds we need. Teoh put our vintage audio together, so we're going to start by using free sound dot Organ. This is a place where you can go to find any sound effects or sound design elements you need, and it's completely free, and you're not bound by copyright or anything. So it is gonna go through and search something like vinyl. Okay. And let's start listening to some of these. Okay, So this is the sound of a needle being put on and then taking taking it off of, ah, of a record. So we'll probably will probably use that. Okay, something like this. When you're looking for sound effects to use in the creation of vintage audio, you want to find something that's consistent. Maybe let's looks consistent. So that might not be what we want, but it's consistent overall, so I'm gonna download it anyways, um, and to download it, you just click on it and then you have to log and already have the ones I'm gonna use downloaded, and I'll show you guys what I downloaded after. But you just log in click download, and I put these all in one folder so it's not scattered all over your computer. But let's keep listening to these and find some we like and some we don't like. Living like this is really good. It's pretty consistent. It's no huge spikes in volume because ah ah, lot of times will be looping Mies. And if it's too jarring, there's one loud moment like a the end of this one. We always clip that off, but in looping Matt, it could get really distracting. I'll probably down list download this Onley because I want to isolate one or two of these and maybe thrown somewhere into the audio as kind of an accent like Here's a really good one. Here's a really good one. It's that background hiss that you hear when you were playing vinyl records. This is something we could loop over the entire thing. I definitely download this one. Maybe. Okay, not that. All right, so you can keep looking through some of those just really find anything that's consistent. Or maybe you can use Maybe it's like consistent, but it's a good accent. You could throw it in every once in a while anything that you kind of think might fit. You can really download whatever you want. It's not like you have to use it once you download it. I just searched noise and let's listen to some of these. So something like this might sound crazy in itself. But if you play it quietly, it could have a lot of texture to what you're trying to make. And it would sound really, really good. You know, this is a really, really low volume. It's kinda hard to imagine now, but I would just download a lot of these things and weaken test them out later. Even as crazy as this sounds like something like this played it a really low volume might be the perfect thing. We need to make it sound old school. Yeah, I would definitely have ah, white noise track like this. So I'll show you. I'll show you guys what I found. And you guys, kid. Ah, either used these from the student downloads or find your own. So here's some of the audio that I found when you download the files. Originally, they might have some crazy wack a doodle names so for the sake of sanity, I would just rename all of these. I went with noise. You see noise. 12345 Vinyl On and off, which was that first sound effect. We found vinyl crackle, which is like those scratchy sounds and then that hiss that we found. So let's listen to some of these. I think these electric sounding ones, this electric noise style ones will work. Really well, who's that on off? And this This one. So, uh, you could download as many as you want. It's not like when you download them, you have to use them. So I would just whatever you think might work. Or maybe you don't even think it will work. You could just try it, and then we could just throw it away after. So if you want to go through and find your own sounds or if you want to just use the ones I found, you could do that 5. Adding Sounds To DAW: Okay, so I'm sitting here in studio 13 and as I said before, this software is completely independent of what we're trying to dio. So you could be using any digital audio workstation you want we're gonna start by doing is dragging in some of these effects and trying to make a little vintage sounding mix without the primary audio included. So I'm gonna start by just making some tracks here. We'll save this one for We'll just call this audio for a main track. But we we won't. Ah, put anything in it right now. So we just have his empty track here. So let's just start dragging in some stuff, okay? So after you do this, do not hit play or your years will explode. So the first thing you wanna do is probably just mute all the tracks. I just brought him in here so we can Wouldn't have to keep going back and forth between the files. And we could listen to him in here. So let's just listen to what some of these are. Okay. Cool. Okay, lets see. I really like that one. Okay, so this is the one with the vinyl that the needle is being placed onto the record. So I want this one at the top because I'm gonna end up using this. I'm gonna cut off the part where they over there, where they put the needle on is the beginning. Where they take it off is the end. So I'm going, Teoh, just isolate this little piece here because I want to use in the beginning, OK, but then for the crackles I want I want to figure out which one of these are my favorite crackles These air the crackles here, these ones, the vinyl crackle one through five. So lets us some of these and pick the our favorite ones. I was considering this when I was downloading on the free sound dot org's. I like this one, but the river, but has going on. It kind of throws it off for May. It kind of sounds like fireworks too much. So I'm just gonna end up removing that one. I was trying to make that work. Ah, a little earlier, but it wasn't really doing much. Okay, this one's good. Oh, this is the one where I just wanted to isolate a couple of these so I'm just going to use these two. I'm gonna just all drag this and just save save to these. I want to throw these somewhere along the mix just for a little bit of an accent. Okay, this one's good. It's like a little stereo crackle you can hear going back and forth between your ears. Kind of weird. Oh, yeah. I'm not gonna use this one because this one kind of sounds like noise to me. There is some crackles, but I would rather have the ones like this. That air just crackles rather than crackles and noise to keep it a little more simple. And it would make it easier for the mixing process as well. And I'm gonna keep the hiss. I have this on stone because I wanna look, I'm gonna move this to the top as well, because I have no 100%. I'm gonna use that. I don't think I'm gonna use this one here just because has this weird fade and it's a little too harsh. Okay, let's see what we're left with getting metal work that will work. That will definitely work. Okay, so we have the sounds we want to use. I might still cut some of these later on, but these are our primary sounds that we're going to work with here. 6. Basic Vintage Mix: Okay, Now that we have all the sounds that we're gonna use in our work station, we essentially want to make a vintage mix. So that this in this top layer here, this top track, we can just throw in any audio and it'll sound vintage because of the little mix we made. So let's start by adding some loops and some stuff to make this into a real mix, you can see some of the clips of I zoom out or a lot longer than others. So some of the ones I wanted toe loop indefinitely were the vintage hiss and one of those crackles. So let me on meet this. You guys can hear what I'm talking about. Kind of quiet turned up a little bit. And we're gonna make a basic mix without the primary audio The audio. We want to make sound vintage. But then once we add it in, will mix around it so that it all makes sense. So I'm gonna do is just in Studio one you hit d at to duplicate. But you don't want these chunks in between or you'll get this, which is very jarring. Um, this the track I believe starts a bit softer and gets louder. Zero gets, like, full force right here. Someone's gonna cut it to right here. So we don't get that inconsistency the middle. Yeah, I'll cut it out right before it, right before it fades. Just so it's a little more consistent at the beginning of the end. Okay, So let me actually delete these since I changed it and let me delete this one or duplicate this one. And then if we push them together, they won't play over each other. But if we have X, it'll do a cross fade. So it's pretty seamless. I mean, so I never really it's ever a jarring stop. So I'm gonna duplicate Visa few times, push them together. It acts pushed together, had acts, do a few more if we need to go. Ah, longer than we could just add more of those. But that's good. For now, we can hear it's pretty seamless all the way through. Okay, so now that we have that, let's do the same thing with the noise. Okay? So I'm gonna cut to where you could see the beginning. A little kind of builds up to it. I'm gonna cut to where it's already consistent. Here. I'm here now. You might not like this sound, but what we can do is that once we have them all lubed and ready to go, well, essentially use each track right here. The fader as as a kind of Mick vintage mix. So we can control how much of this noise or how much of that noise. It'll give us a lot of control once we do this. So let's hear if it ends correctly or consistently. Okay, let's duplicate that same thing. Um, cross fade, duplicate. One more cross fade. Let's hear it. Kind of sounds crazy. Okay? It's pretty seamless because it was doing it a different kind of noise, so they don't blend perfectly, But when they're really quiet behind a mix or behind some music or a voiceover, you won't really hear that. Let's go to the next one. Okay, let's duplicate this. This is pretty consistent the entire way through. I can't see a bit whiter. Okay, We'll have that there. Let's do one more like this. You know what? Is this here? Oops. Mute. Okay, let's duplicate these. Okay. Okay, there's that. And what is this, Okay? It gets a little too intense right here. So what I'm gonna do is just cut it down. Just bring it all the way in. So we use this quieter part that's a little more consistent. Let me hear this first. Yeah, This is a nice little chunk. I'm actually gonna bring it in here. Here, duplicate that. Okay, that's pretty good. All right. So let me just duplicate this a bunch of times, bring them all in and then X. Okay, so now we have the crackles. Here, let me hear this one. Okay, so I probably want to use both of these at the same time. Let me hear him together. Yeah, they don't. Since it's not. It's not a consistent tone. Like a lot of the noise thes can work. These can overlap and create a layering of scratches. And these ones in the middle, I'm just going to throw in randomly. I'm not gonna loop them or anything, so I mean, loop these though. Boom. Okay. And actually make this easier since let me zoom in. So says I have, um, overlapped right here. I can hit X right, and they would do that But I can also highlight this entire thing just because this clip smaller hit D on this and then do them all at once. So it'll it'll duplicate the entire selection. So I don't have to duplicate individually so much that I can select the entire Group X and let me just here if this isn't too jarring of a transition, So I missed it. Okay, that's perfect. And let me hear this. Okay, let me duplicate that. And this one's already a pretty long file. Only need to do one. Okay, Now that we have this done, let me not unm ute everything. But I want to kind of separate these a bit with the with the color. So if in Studio One, if you just click the name once right here brings out the color menu, I just want to separate these. So this is the on off vinyl. This is the hiss. So I'm gonna do I'm gonna do the hiss, its own separate color, and then the noise all the same color, just so I can easily differentiate what I'm seeing. So the noise will be this obnoxious pink color or red. I'm not sure if I'm color blind and then the crackles will be foot. Let's see purple. Okay, just so we can see in our heads. So this let me make these a little bit smaller just so we can see in our heads what's going on here. But now we have our all of our audio looped so we can just control it with the levels. 7. Audio Treatment: I want to bring in some primary audio so that we can treat this and surrounded by this mix we're trying to create. So in the student downloads, there's some karaoke e of me singing country roads. Listen, listen to a little bit of it. Almost have, uh, West, Uh, I I know you're impressed. You're impressed. Okay, so we have this audio here, and we're gonna make this sound a little bit more vintage. So one of the one of the main things that makes make stuff sound vintage is the fact that it doesn't have a lot of low frequency. So this is our main audio here. So again, I'm gonna be using Oh, I know if I said this earlier. So in studio one, they haven't e que Just your pro e que Where you could just be adding whatever you want, but I'm gonna be using, um, fab filters EQ. You just cause visually it looks a lot better. So you guys at home have something better to look at, so but it But it essentially works the same way. So we have this and I want to take away a lot of the low frequencies so I'm gonna make a little low cut here. We're gonna go to 12 decibels. Proactive. So it's a little bit steeper. And let's play it and let me slide this back and forth. Do you guys understand what's happening? You're gonna hear the low frequencies cut away. Almost have, uh, West Virginia Blue Ridge. Life is old. So a lot of the older microphones couldn't pick up those really low bass frequencies. So if we're making something sound vintage, they wouldn't be there. Let's compare this right here. It turns the effect on enough. Almost have, uh, Theo in the same thing with the high frequencies. A lot of that high shimmer isn't there, so I'm gonna make a high cut. This is gonna isn't gonna be as extreme. Almost have, uh I think I'm gonna poke out one frequency here, usually somewhere around five K. Make it a little little more steep ridge mountains. No river life is full older than the trees. Younger. Let's listen to before and after. Almost have, uh, West Ridge. Okay. And what makes a lot of that vintage e sound is when things have a little more reverb than you'd expect. So again. You can use any reverb. You you would like some is gonna type in the verb here. And there's a lot of stock plug ins, the open air room river and the mix of herb. But I'm gonna be using fab filters. Pro are again for you guys at home. It looks a lot cooler. So So this is the, um so does I'm not gonna get too far into how river works, but this will essentially just control the size of the room. And this is the blend between the wet and dry audio or the original signal and the fixed, earthy, affected reverb signal. So for this full 100 it's entirely the reverb. If I put it at zero, it's entirely the original audio West Virginia Bridge River. So we can hear the differences here. I'm gonna turn. I decided a little bit of reverb I concern about Let me turn on and off so you guys can hear what I'm talking about. Life is gold older than you, Just a little more dreamy, which creates a lot of that vintage quality. Let me turn down the effects a little bit on, Then I'll go on and off with the entire set of effects here. The e que and the reverb like Theo, and that's all we really needed to do. I can go and I can go in further and distort it if I wanted to, but we can save that for later on in the course. 8. Blending The Elements: Okay, now that we have our audio treated a bit, I want to now blend it in with all these noises we have. So let's first start by adding that Let me zoom in here and close this mixing panel. Let me add in this vinyl, but when the needle drops onto the record groups Okay, so we have that I'm going Teoh first recommend this. I would just turn all of these down, okay? Because if you accidentally if you accidentally a mute these and play your ear drums will explode. So I'm gonna turn me all down. We can turn it up later if we need more of them, but just kind of putting them in the right context. Okay, so that's how we'll start that. And then we'll start the hiss. So we kind of here, let me let me turn it up So it's a little more obvious, and then back it away. Almost have, uh, So now that hisses There. Now let's go in to see what this one is. I can I can solo it just so you we only hear this. I'm gonna put that relatively quiet just cause it's a little more aggressive, Theo, All these. You may not hear it in itself, right? You may not be able to pick out this sound, but all of these layered together are adding to that vintage quality. All these imperfections that we need. Let's hear what this is. Let me solo this one. Okay? We'll have this one relatively quiet as well, just because again, it's pretty aggressive. West Blue Ridge Mountains. Life is full. Okay, let's hear what this one is. We can have this one a little bit louder. Oh, it's limited. I'll make it really loud and then back it off so we can hear what's happening. Life is full, older than go through. This one is, and for your mix, you don't have to use all of these. I'm going to try and make a blend with all of them just so you can see how this layering works. But you could just say it may be a maybe I don't really want this one or I just want it for a little bit. So I might, you know, I might delete some of these and just have it for these sections over here. You know, it's up to you, but I'm just gonna use all of them so you can see the effects of this. This big layering. Let's hear what this one is. This is very similar to I think, this one in that it's pretty aggressive, So we'll have it about there. I'll start it loud again. Been back it off? No. Okay, now we need to add the crackles, Which are these? So let's listen to these. And we want these a little. A little bit louder than the noise. The crackles, I think should sit just above the noise to make them kind of pop through. And again, I'll make it louder and back Enough west. Yeah, Ridge. No river life is full and these ones are accents. So I'll do those at the end. I shall move those. I'll just leave it there for now. But let's listen to these. This was that stereo pop we hear back and forth and our years. Okay, so now we have this little mix here. So what you can do from this point is then bring in the audio, bring the main audio up a little bit so you can hear the layering of the beginning. a lot of times when you hear that vintage sound, when it's really quiet at the beginning of a song, that's when that noise takes over. So the very beginning, you can really hear that layering we made. And that's one of the main points that puts you in that vintage mood. It's not so much that it sounds 100% correct. This is technically vintage, as in the frequencies or set up the right way. But when you hear all those those layering of all the crackles, the electrical noise, the beginning, it really kind of puts you in the in the right mindset, and I want to add one of those pops here. So let's listen to these. I sold it one of those pops. I want to have one of those right at the beginning. Just so again, it reinforces what's going on. So some of this Ellipse Minnesota that Oh, it's muted. Okay, that sounds perfect. Okay, um, and I'll keep these ones relatively loud. And just maybe, you know, I'm just all dragging, you know, Just drop some every every once in a while, in here. Okay? Like that. All right. Okay. And the last thing I wanted to do was you see this track here? Um, this button here air? No. Where is it? What I'm looking for here. Ah, wait. Is it Make this bigger. Okay. See this button here? I thought it was in here too. I might be just crazy, but so this is This is what makes it stereo or mono. Um, stereo meaning it's coming from two sources. Think of headphones where you can hear stuff in the right on the left and a mono source, which essentially works as one speaker. So you don't get that stereo mix. So if I play this solo, you can hear stuff happening and you can see stuff happening. This is the left Channel in the right channel. These two little bars theme. But older music typically was mono only. So you wouldn't have this kind of separation again. This is a stylistic thing if you want to make a vintage sounding track. But you still wanted to be staring. You can do that, But sometimes mono can definitely help. Let me show you. The difference is West, Theo, so it sounds really centered, and you can hear a good example of it at the very beginning. When this when it first comes in, the guitar is is very wide, so you can hear it separately in each year. So you know that hard in the left ear. But when you have it on mano, it's right in the center because there's nowhere else for it to go right. So if you want to truly make it sound vintage, you'll make your audio mono and that'll help a lot. So let's listen to this. How we have it right now. Oh, wait, let me add everything else in Almost Have West Between Bridge River, life is full older than the trees. There was one of those big like Theo. Let's listen to the comparison. Let's see where we started. So if I solo this and make it stereo and turn off the effects here, this will be exactly where we started. Almost have, uh, West. And then I'll slowly add the effects and I'll start with the e que right so that it made it sound a little wonky. All the loans gone. Some of the high ends gone and we poked out around five case are actually six K. Um, to draw some of those weird frequencies to make it sound a little more distorted. Will then add that reverb to the entire track will make it mano and then add all of it in and you can see the progression of what we did. Life is full older than the trees like is Theo in the next video, I'm gonna show you how to bring everything back upto listening volume and do a few more tweaks that might make it sound a touch better. 9. Limiting: So we have our mix completely done. How we like it. You know, it sounds how we want cool all the crackles there and everything. All we need to do is bring it up to listening Volume. And how we do that is by adding a limiter. So when my master bus right here on the right, I'm gonna add a limiter. This thing right here, this, um, this plug in, that's already there is simply to record my workstation so you guys can hear it in the course, but you should have nothing there, and then we're gonna add a limiter. Oh, and again, there's a stock limiter you can use, which were you set the ceiling and you push sound into it. But I'm gonna be using the fab filter limiter just because that's the one I use all the time. And again, it looks a lot prettier. Some So what? I'm gonna don't want to get too far into what loudness is and how loud your audio should be . But we essentially want to make sure it's not clipping, and it's not. I'm doing anything crazy, Theo Eso An objective is to get the audio for Internet streaming. That listening level is around 14 to 16 lefts, right, The higher or the lower. Rather, the number is the better. Negative. So this right here is 32. So we wanted to go up louder to around 16. So if I set the limits, I know I'm not gonna explain too much, but if it hit zero this top line, that means it's hitting digital zero, which is clipping. So it's gonna start distorting the audio. Not in a good, vintage, warm kind of way, but in a horrible destroy, your ear drums kind of way. So I'm gonna set this just too negative, negative one, which is just below that clipping about right here, and we'll listen to it and we'll bring it up to until it says about 14 to 16 lefts West Bridge on the River. Life is full, and there's louder parts of the songs. I want to make sure, um, the loudest parts are around that level. It is. Bring it back down the way. Okay, so we have it a bit louder now again, I don't want to go too far into, um too far into how loudness works, But if you have a limiter that shows loves In this one. You can get a free trial for pro l from by Fab filter. And if you click the loudest right here and click loudness, it'll show this little meter for you. Now the only thing we need to do after this is that once this ends here, we still have all this noise. So if we're exporting a file in Studio One, you export it by creating a loop right here and then you do song mixed down And you you exported between the loop. So like that. But we can just have it end abruptly with the noise. So if we right click the master fader here and edit the automation automation, we can make it. So let's put the mouse, Let's see where we wanted Tonto. Let's have it end right there So we can make a little a little Oops, a little mark there a little mark before it. And then we can fade out the master fader. So essentially, I'm doing a little automation here. And this will control that final that the master Fader non here on Watch that watch the knob right here in the bottom right of the screen. So it fades it out for me. Right? So it has a more clean ending. And with that, you can export right here. So you would go song export mix down. You would, You know, said it is an MP three or whatever you want to do, and then it's ready to go. We have, ah finished vintage sounding track. 10. Template: Okay, so I didn't really say this is clear, as I wanted to earlier, but but the objective of this is so we made this entire thing. So we have this huge layering of of audio here, all these layers of noise and everything. But I don't expect you to do this for every single clip or every single piece of audio you need to make sound vintage. The idea of doing it in this way is that you can save this file. So if you're working in FL Studio, if you working, enable 10 If you're working in pro tools, whatever it is, you can save this exactly how it ISS and you would call it something like vintage template . Or, you know, I want to sound vintage or whatever the hell you want to call it. Okay, But But the idea is that we have this audio track here so that you could just remove this right and add whatever audio you you need to to this and and the only changes you would really have to make our maybe duplicating these Tino make it last longer or adjusting this automation right here so that it fades out at the end of your track. So if it you know, if it ended here, you know, I would just go in here and, you know, move these over here so it's fades out of the red spot. But that's all you have to change, and you have is extremely customized vintage audio. That doesn't sound like any template you'll ever find. It's your own personal template, so I just want to reinforce that again. We're not just doing this every single time for every piece of audio. Once you have this ready to go, you can make this template here and use it over and over and over for anything you need to make sound vintage. 11. Vinyl by iZotope: Now that we fully understand how we do this manually, I want to show an entirely plug in the way of doing it. So this is actually a free plug in by isotope. And it works essentially in the way we created our vintage audio. So let me drag in that. That same karaoke track. Okay, we've heard this before. I know it sounds really good, but let's listen. Whoops. I have the tempo messed up alone. Okay? Almost have Ah. OK, so we have it there. Now. Now we're gonna do it entirely through a plug in, and I'll show you why I showed you the first way first instead of this instead of its plug in. So this is a plug in by isotope. It's called vinyl. And what it does is it emulates vintage sound and let me go over some of the controls here , so I'll turn it off so we don't hear anything, but, um, you can see here we have the year. So you started by selecting the right year and the the further back you go, the more the more vintage and distorted it's going to sound. But then you have individual controls we have mechanical noise. If I turn this on, you can hear it. Okay, so we have mechanical noise. We have where? Oh, that. Only you could only hear that when it's actually playing. We have electrical noise, we have dust. And this is the volume right here. The volume of this, if you won't hear anything, you have to turn on how much dust there is. So if we put on 50% Oh, this little I think you only hear this when it's playing. So let me actually play it. Almost have, uh, west. So I don't If you can hear that little flickering that's happening in there, you can hear it now. So this controls How much does this controls? The volume of the dust, the scratch, the scratch Actually mess with the audio, and then you'll hear that in a second. I put this up to put this up, too. Um, four right here and then turn up the volume of it. Eso it actually cuts and kind of makes this jarring action with the audio. Almost have, uh, west and normally would never have it. This I'd probably just put it on one scratch. Almost every once in a while, it kind of throws one in the warp depth is actually win. The vinyl itself deteriorates and it affects the pitch. So you're going to hear this Almost have, uh, from a stylistic point of view. Yes, this might make it sound, really, really vintage really, really old because it's the vinyl, the record itself being worn down. But from an audience point of view, uh, this might just make it sound bad, and it doesn't really convey that it's older. So let me show you what Where is as, well, almost have West Ham and then let me go over year as well. So all slowly back it up until we get to 1930 and you can hear what's happening. Uh, river life is old, older than the trees young, so you can hear that It's a lot of the stuff we already did. It's a lot of the stuff we did already, right. We added McKenna, The noise we added electrical noise, right? We have somewhere on it, you know, we added some dust. Can we hear it though? So we have we added all these elements. C was, but the difference is. So let me play it. Let me go. 19 thirties, well switched to mono. There's even a switch for that. Almost have, uh, West Virginia Ridge Mountains. No river life is old there Older than the trees Younger on the way on. It sounds good, right? Oh, and it'll keep playing that stuff. Um, it sounds good. And we do the same thing where we then do this and limit right we can We could do the extra reverb, you know, whatever we want it or not, This one. We use my fancy pro l fab filter, and we could bring it back up as we did before. I think we I think the the scratches extremely jarring. So when I'm using this and ever added, But what I'd like to emphasize here is that while this works, you don't have the customization that you did when we did it the previous way. Right? So I just want to show you this in case you just need to do some fast and lose quick and dirty vintage audio so we can have this year. Let me let me actually just play this. So we hear the mechanical noise were the electric noise right? But what I'm trying toe what I'm trying to point out here is that we don't get to choose what kind of electrical noise this is. And we don't get to choose what kind of mechanical noises before we chose the sounds ourselves. So we have a lot more customization with this. But that's not to say that you can add your own so you can go through, add this, add the electrical noise, add the wear, add the dust okay, and you're playing it, and you can go through and add additional tracks like we did before, where we add more noise and mawr this ball block and you can also do the reverb as well. So if I wanted to go in here and do what we did before, where we added a little bit of river, you hear it helps a lot of kind of Smoothes out all of the imperfections and gives it a more nostalgic tone. Courage Mountain. No River. Oh, it's a lot more dreamy, but so I just wanted to show you guys this, so if you don't need as much control, you can do it this way. If you want to do it where you have complete control over every element you can do with the first We did it the collage method. And I'd like to emphasize that it's essentially doing what we did where we had each one of these layers or each one of these tracks. You know, one with no is here. One with noise here, one with noise there and we're doing it the same way. It's essentially a simplified version of what we did. Okay, so if you need a solution again, this is free. If you just Google isotope vinyl, you can install it. It's completely free. You have to pay for anything. So that's just another tool if you guys are interested in that. 12. Closing: here we are at the end of the course. I do really appreciate you guys getting all the way through the course. If you have any feedback, I'd love to hear it. I'm not the best teacher in the world. If you want to hear some of the sound design or music composition stuff, I'm working on a follow me on Instagram at Andre Angelo TV. And if you want to sign up for my newsletter where I do more, I link articles, whether it's from me or someone else. Helpful tips, discounts on hardware and software plug ins, um, and even do giveaways. You can find all that at andre angelo dot com slash newsletter. So again, Thank you guys for taking my course. I really appreciate it. If you like it, check out some of my other courses and have a good day