- CUSSOU602A - Manage production of sound recordings
Assessor Resource
CUSSOU602A
Manage production of sound recordings
Assessment tool
Version 1.0
Issue Date: April 2024
Production administrators, executive producers or project managers apply the skills and knowledge described in this unit. They are responsible for managing the production of sound recordings, including planning and monitoring rehearsals and recording sessions, engaging specialists where required and overseeing and evaluating the quality of finished recordings. They could be working in the live entertainment or screen production industries.
This unit describes the performance outcomes, skills and knowledge required to manage the production of sound recordings. Well-developed planning and organisational skills are required, along with an ability to work collaboratively and creatively in a leadership role with those who contribute to the production of sound recordings, e.g. artists, performers, producers and sound specialists.
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: demonstrate high-level management and communication skills as a team leader manage at a practical level the production of sound recordings to meet desired production values produce creative solutions within constraints of budgets and resources. |
Context of and specific resources for assessment | Assessment must ensure: access to a range of industry-current equipment and facilities as listed in the range statement access to a range of recording projects 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: evaluation of soundrecordings, where the production was managed by candidate, and of their quality in terms of meeting specifications written or oral questioning to test knowledge as listed in the required knowledge section of this unit case studies to assess ability to manage the production ofsound recordings for different types of recording projects observation or video/audio recordings of production meetings chaired by the candidate to assess team leading skills. |
Guidance information for assessment | Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended, for example: BSBFIM501A Manage budgets and financial plans BSBOHS509A Ensure a safe workplace BSBPMG510A Manage projects CUFCMP501A Manage and exploit copyright arrangements CUSSOU601A Manage production of sound designs. |
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 skills sufficient to: interact effectively with people with diverse interests and needs show strong leadership qualities and work closely with team members conduct effective negotiations with a wide range of production personnel, and external suppliers and service providers coordinate production meetings and brief staff to achieve required outcomes identify and deal positively and constructively with conflict in a timely and collaborative manner to achieve best production outcomes well-developed planning and organisational skills sufficient to coordinate all aspects of managing the production of sound recordings, including working within budgets well-developed project management skills covering both physical and human resources self-management skills sufficient to: work under pressure provide appropriate and timely documentation meet deadlines evaluate own performance initiative and flexibility when responding to unexpected changes in the production schedule or process literacy skills sufficient to interpret written instructions and to prepare progress and evaluation reports numeracy skills sufficient to interpret, monitor and adjust budgets and cost estimates |
Required knowledge |
meeting procedures and protocols as they relate to productions musical, artistic and technical elements associated with music productions and recordings well-developed understanding of: administrative procedures associated with managing the production of sound recordings content, format and timing of different types of documentation duty of care to colleagues and general public industry knowledge, including: structure of the relevant industry sector roles and responsibilities of personnel current industry practices, e.g. industrial awards, workers' compensation and contracts music and sound terminology sources of products, supplies and equipment impact of technology on production operations phases and practices in the production process issues and challenges that typically arise in the context of managing the production of sound recordings OHS and public safety legislation and regulations as they apply to sound-recording projects |
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. | |
Relevant personnel may include: | clients record companies artists, musicians and performers program managers audio personnel: sound engineers sound technicians sound editors sound designers sound effects personnel post-production editors foldback mixers front-of-house mixers recordists re-recording mixers audio stagehands broadcasters broadcast engineers directors producers photographers program managers stage managers floor managers film/video crew. |
Production values may include: | artistic quality overall sound quality aligned with production vision performance quality manifested in the recording position and blend of sound sources relative levels of sound sources transitions between sound sources overall sound balance clarity of the sound colour of sound sound textures. |
Recording projects may involve: | solo artists solo artists with backing groups/ensembles instrumental, acoustic and/or electronic vocal vocal and instrumental recording live performances. |
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. |
Venues may include: | dubbing theatre on location, including interior and exterior outside broadcast post-production studio recording studio sound stage. |
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. |
Documentation may include: | pre-mix scripts mixing sheets track sheets de-noising documents cue sheets dubbing sheets queries notes manuals. |
Formats may include: | quarter inch audiotape WAV AIFF Apple Lossless WMA MP3 Vorbis ATRAC AAC. |
Evaluation techniques may include: | interviews surveys questionnaires focus groups demographic data feedback reviews evaluation may include: clients 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 |
|---|---|---|---|
| Participate in production meetings with relevant personnel to confirm the vision, sound concepts, production values and expected outcomes for recording projects | |||
| Confirm production requirements | |||
| Finalise and confirm repertoire, artists and operational details for recording projects in consultation with relevant personnel | |||
| Identify and confirm production staff requirements and recruit personnel needed for recording projects | |||
| Ensure artists are secured, confirmed and contracted as required | |||
| Identify and secure appropriate venues and resources for rehearsal and recording sessions | |||
| Ensure that contracts required for staff and venues are finalised | |||
| Ensure that arrangements are in place for ongoing communication with relevant personnel so that artistic vision can be achieved and resources are available when required | |||
| Ensure that accurate rehearsal and recording session schedules are drawn up and distributed to relevant personnel | |||
| Ensure that a project schedule for production meetings is finalised and distributed to each technical team member | |||
| Anticipate issues that may arise during the production of sound recordings and plan accordingly | |||
| Ensure that the technical team is fully briefed on operations, production values and contingency plans | |||
| Comply with relevant OHS, copyright and other legal requirements | |||
| Ensure that communication in sessions and production meetings is comprehensive and constructive and that documentation is completed correctly | |||
| Ensure that all production resources and requirements are in place for recording sessions and other associated activities | |||
| Communicate systematically with the producer/director to verify and maintain the required production quality | |||
| Communicate with and direct production staff constructively and consistently through prerecording, recording and post-production to achieve agreed production values | |||
| Comply with agreed quality, time and budget constraints at all stages of the production | |||
| Ensure that agendas for production meetings are planned and circulated to all relevant parties in advance and that discussion of concerns is encouraged to establish and achieve planned artistic outcomes | |||
| Ensure that individual perspectives are considered and conflicting requirements are recognised and constructively negotiated | |||
| In collaboration with relevant personnel, ensure that the quality of musical and technical preparation is maintained throughout the production and take action as required | |||
| Ensure that all components of post-production mix meet agreed production values | |||
| Facilitate continuing input from artists and director/producer into the post-production process and take remedial action as required | |||
| Ensure that the physical components of post-production are delivered correctly and in the required formats | |||
| Discuss and obtain agreement from relevant personnel about evaluation techniques | |||
| Focus evaluations on the way the process of managing sound recordings was handled and document results | |||
| Evaluate own role in operations and note areas for improvement | |||
| Provide feedback to team members on their performance as required | |||
| Document evaluation of operations in line with enterprise procedures |
Forms
Assessment Cover Sheet
CUSSOU602A - Manage production of sound recordings
Assessment task 1: [title]
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Result: Competent Not yet competent
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Assessment Record Sheet
CUSSOU602A - Manage production of sound recordings
Student name:
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Assessment task 1: [title] Result: Competent Not yet competent
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Feedback to student:
Overall assessment result: Competent Not yet competent
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