- CUSSOU502A - Produce sound recordings
Assessor Resource
CUSSOU502A
Produce sound recordings
Assessment tool
Version 1.0
Issue Date: April 2024
Music producers and sound engineers apply the skills and knowledge described in this unit. They are responsible for working collaboratively and creatively with artists and performers to produce musical recordings which can be distributed through record companies and in a range of media, such as television, film, video and the internet.
Even though their particular focus is on performers and their skills to produce a creative work, they are responsible also for the quality and balance of the final recording. In addition, they need a range of musical, technical, personal, business and management skills.
Skills associated with managing the process of sound recordings are covered in:
CUSSOU602A Manage production of sound recordings.
This unit describes the performance outcomes, skills and knowledge required to produce a musical recording.
You may want to include more information here about the target group and the purpose of the assessments (eg formative, summative, recognition)
Prerequisites
Not applicable
Employability Skills
Not applicable
Evidence Required
List the assessment methods to be used and the context and resources required for assessment. Copy and paste the relevant sections from the evidence guide below and then re-write these in plain English.
The Evidence Guide provides advice on assessment and must be read in conjunction with the performance criteria, required skills and knowledge, range statement and the Assessment Guidelines for the Training Package. | |
Overview of assessment | |
Critical aspects for assessment and evidence required to demonstrate competency in this unit | Evidence of the ability to: produce at least two sound recordings that demonstrate: well-developed critical-listening and aural-discrimination skills a creative and appropriate musical concept that demonstrates knowledge of musicianship, repertoire, recording techniques and an awareness of sound design possibilities work creatively, collaboratively and constructively with performers to produce a sound recording. |
Context of and specific resources for assessment | Assessment must ensure: access to: relevant instruments and equipment scores, charts or other written music resources participants, such as performers and technical crew appropriate recording facilities with adequate space and acoustic qualities use of culturally appropriate processes, and techniques appropriate to the language and literacy capacity of learners and the work being performed. |
Method of assessment | The following assessment methods are appropriate for this unit: observation of a recording session where the candidate is the producer written or oral questioning to test knowledge as listed in the required knowledge section of this unit authenticated musical recordings where the candidate was the producer authenticated samples of project plans prepared by the candidate case studies and scenarios as a basis for discussion about issues and challenges that arise in the context of producing musical recordings. |
Guidance information for assessment | Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended, for example: BSBPMG510A Manage projects CUFCMP501A Manage and exploit copyright arrangements CUSSOU504A Create a final sound balance CUSSOU603A Manage production of sound recordings. |
Submission Requirements
List each assessment task's title, type (eg project, observation/demonstration, essay, assingnment, checklist) and due date here
Assessment task 1: [title] Due date:
(add new lines for each of the assessment tasks)
Assessment Tasks
Copy and paste from the following data to produce each assessment task. Write these in plain English and spell out how, when and where the task is to be carried out, under what conditions, and what resources are needed. Include guidelines about how well the candidate has to perform a task for it to be judged satisfactory.
Required skills |
communication and teamwork skills sufficient to: interpret and clarify written proposals and creative briefs understand artists' requirements work effectively with artists and sound engineers work constructively with group dynamics identify and deal effectively with conflict direct and monitor the work of others listening skills sufficient to: use aural imagination to develop coherent and innovative artistic sound outcomes within the scope of planned artistic and commercial objectives discriminate and enhance texture and tone colour in line with objectives understand appropriate intonation, dynamics, phrasing, rhythm and expression to produce the required sound listen critically to the creative and technical work of others listen critically to and adjust performance of others to achieve the required sound continuously evaluate and adjust the production of musical work planning and organisational skills sufficient to: clarify roles work within budgets and timeframes plan recording projects use time-management strategies to set priorities develop systems for required documentation initiative, enterprise and creative skills sufficient to: demonstrate artistic leadership use innovative approaches to recording to enhance the interpretation and performance of music or to create new possibilities through artistic and technical effects interpret music appropriately to ensure a sympathetic and appropriate approach to sound production technical skills sufficient to apply knowledge of acoustics: in sound production to recording projects to instruments/voices in placements and settings for sound balance in recording |
Required knowledge |
well-developed understanding of psychoacoustic principles, including: spatial hearing direct sound early sound reverberant sound studio and control room design ergonomics industry knowledge, including: varied characteristics of sound in a range of recording and performance environments musical repertoire, styles, forms, systems, practices and customs appropriate styles of musical interpretation and sound production relevant musical terminology features and characteristics of a range of instruments performance customs of music genres relevant to selected area of music recording copyright law and permissions issues and challenges that arise in the context of producing musical recordings sound understanding of recording techniques, such as: microphone and instrument/voice placement application of effects mixing sound sources issues and challenges that typically arise in the context of producing sound recordings OHS principles of safe listening, including safeguards against hearing loss |
The range statement relates to the unit of competency as a whole. It allows for different work environments and situations that may affect performance. Bold italicised wording, if used in the performance criteria, is detailed below. Essential operating conditions that may be present with training and assessment (depending on the work situation, needs of the candidate, accessibility of the item, and local industry and regional contexts) may also be included. | |
Recording projects may be for: | solo artists solo artists with backing groups/ensembles vocal vocal and instrumental instrumental, acoustic and/or electronic. |
Production requirements may include: | technical creative artistic attributions audience budget confidentiality content contractual arrangements copyright deadlines direct quotes duration intellectual property interviews location purpose schedule style. |
Relevant personnel may include: | clients artists, musicians and performers directors producers post-production personnel program managers sound designers and editors video and sound recorders audio personnel: sound engineers sound technicians sound editors sound designers sound effects personnel recordists re-recording mixers broadcasters broadcast engineers. |
Copyright requirements may include: | provisions of current Copyright Act copyright permission procedures attribution moral rights and performer's rights negotiating with copyright organisations, such as: owners of copyright: publishers, composers, etc. Australasian Performing Rights Association (APRA) Phonographic Performance Company of Australia Limited (PPCA) Australasian Mechanical Copyright Owners Society (AMCOS) Copyright Agency Limited (CAL) archives. |
Recording site may include: | dubbing theatre on location, including interior and exterior outside broadcast post-production studio recording studio sound stage. |
Sound equipment and accessories may include: | amplifiers analogue to digital converters cables compact disc (CD) and digital versatile disc (DVD) players and burners computer technology and associated software recording devices: hard disk recorder, e.g. digital audio workstation (DAW) digital audiotape recorder, e.g. S-DAT and R-DAT digital videotape recorder (DVTR) mini disc recorder (MD) modular digital multi-track recorder (MDM) digital audio players, such as: iPod MP3 headphones microphones and accessories mixing consoles and desks monitors and speakers signal processors and plug-ins. |
Formats may include: | quarter inch audiotape WAV AIFF Apple Lossless WMA MP3 Vorbis ATRAC AAC. |
Media may include: | radio video CD DVD computer hard drive internet mobile device film. |
Evaluation techniques may include: | interviews surveys questionnaires focus groups demographic data feedback reviews evaluation may include: clients record companies stakeholders audience project personnel specialists. |
Copy and paste from the following performance criteria to create an observation checklist for each task. When you have finished writing your assessment tool every one of these must have been addressed, preferably several times in a variety of contexts. To ensure this occurs download the assessment matrix for the unit; enter each assessment task as a column header and place check marks against each performance criteria that task addresses.
Observation Checklist
| Tasks to be observed according to workplace/college/TAFE policy and procedures, relevant legislation and Codes of Practice | Yes | No | Comments/feedback |
|---|---|---|---|
| Apply knowledge of commercial music trends, market niches, new musical styles and artists to develop the musical vision and concept for a recording project | |||
| Establish and discuss production requirements with relevant personnel | |||
| Apply musicianship knowledge and awareness of sound design possibilities to develop the underlying artistic style and creative concept for the recording | |||
| Discuss and confirm vision for sound concepts with relevant personnel to achieve consensus on artistic values and agreed project outcomes | |||
| Address copyright requirements to ensure that the recording process and product comply with legislation | |||
| Confirm repertoire, artists, project vision and operational details in consultation with relevant personnel | |||
| In collaboration with artists, ensure that adequate time and facilities are provided to achieve the agreed performance standard within time and budget constraints | |||
| Plan and agree on communication processes and time schedules with artists and technical production personnel | |||
| Ensure that time schedules are drawn up and distributed to each artist for all proposed rehearsal and recording sessions | |||
| Liaise with technical staff regarding appropriate recording sites | |||
| Confirm that sessions are scheduled to allow adequate rehearsal and sound testing prior to main recording sessions | |||
| Ensure recording site, sound equipment and recording formats are appropriate for the media and project requirements | |||
| Communicate criticism of performers' work in a balanced, constructive and supportive manner that includes positive and achievable options for meeting desired artistic goals | |||
| Ensure that individual perspectives are considered and conflicting requirements are recognised and constructively negotiated | |||
| Continuously monitor all aspects of the recording and ensure that any necessary adjustments are made in line with creative and technical requirements | |||
| Collaborate with relevant personnel to ensure that sound balances are artistically appropriate | |||
| Discuss and obtain agreement on evaluation techniques for evaluating the recording process and completed product | |||
| Seek and obtain feedback from relevant personnel to assess the recording process and product | |||
| Evaluate own role in the production of recordings and note areas for improvement | |||
| Use evaluation results to improve future practice |
Forms
Assessment Cover Sheet
CUSSOU502A - Produce sound recordings
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Assessment Record Sheet
CUSSOU502A - Produce sound recordings
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Assessment task 1: [title] Result: Competent Not yet competent
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