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Elements and Performance Criteria

  1. Prepare for sound recording
  2. Place microphones and test record line-up
  3. Make sound recordings
  4. Finalise sound-recording operations

Required Skills

Required skills

research skills sufficient to locate and use relevant sources of information

literacy skills sufficient to

prepare production setup reports

read and interpret recording documentation

numeracy skills sufficient to calculate duration and capacity of recording media at various speedsample rates

communication skills sufficient to

liaise with soundproduction and recording personnel including in a supervisory capacity

provide feedback to recording personnel on appropriate recording techniques

clearly explain and offer suitable alternatives to record lineup when recording difficulties cannot be resolved within operational constraints

initiative and enterprise skills in the context of critically analysing sound recordings

learning skills sufficient to maintain currency of knowledgeof recording equipment upgrades

planning and organisational skills sufficient to prioritise work tasks and meet deadlines

problemsolving skills sufficient to promptly and effectively rectify sound defects system failures and mechanical breakdowns

technology skills sufficient to work with a variety of soundrecording equipment

Required knowledge

principles of psychophysics such as

frequency

pitch

amplitude

loudness

velocity

wavelength

acoustical phase

timbre

sound envelope

principles of psychoacoustics such as

spatial hearing

direct sound

early sound

reverberant sound

studio and control room design

ergonomics

operational knowledge of soundrecording equipment

principles and techniques of sound recording including

audible defects in analogue and digital technologies

compatibility of different digital standards

identificationlogging requirements

operational principles of microphones including microphone placement

operationaltechnical limitations of recording media

recording formats and technical standards

signaltonoise ratio signal phase and audio levelheadroom control

logarithmic units and the use of different metering systems

timecode levels and standards in analogue and digital applications

principles of synchronisation and referencesystems

issues and challenges that typically arise in the context of recording sound

OHS principles of safe listening including safeguards against hearing loss

Evidence Required

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

make sound recordings that meet production requirements and demonstrate a thorough understanding of

prerecording checks

microphone positioning

testing record lineups

OHS principles in relation to safe sound levels

use a range of industrycurrent sound equipment and accessories

work collaboratively with team members

Context of and specific resources for assessment

Assessment must ensure

access to a range of work environments and productions where sound is recorded

access to industrycurrent sound equipment and accessories including recording devices microphones signal processors and consumables

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

case studies to assess candidates ability to apply OHS principles of safe listening to daytoday work activities

evaluation of a range of live acoustic andor sequenced recordingsmade by candidate

observation of candidate making sound recordings

written or oral questioning to test knowledge of principles of psychophysics and psychoacoustics

Guidance information for assessment

Holistic assessment with other units relevant to the industry sector workplace and job role is recommended for example

CUSSOUA Mix recorded music

CUSSOU405A Mix recorded music

CUSSOUA Record sound on location

CUSSOU406A Record sound on location

CUSSOUA Coordinate location sound recording

CUSSOU407A Coordinate location sound recording.


Range Statement

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.

Productions may include:

music recording

interactive media product, such as:

CD

DVD

podcast

internet production, e.g. website audio

radio broadcast

voice-over.

Documentation may include:

production schedules

set-up reports

cue sheets

track sheets

dubbing charts

equipment instructions

OHS requirements

organisational standards

performers' requirements

sound and audio reports

technical manuals.

Relevant personnel may include:

artists, musicians and performers

audio and sound engineers

audio and sound technicians/mixers

broadcasters

technical producers

broadcast technicians and engineers

directors

producers

conductors

program managers

curators

post-production managers

supervisors

sound designers.

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

digital and analogue 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)

open-reel analogue audiotape recorder

digital audio players, such as:

iPod

MP3

headphones

microphones and accessories

mixing consoles and desks

monitors and speakers

signal processors and plug-ins.

Production requirements may include:

attributions

audience

budget

confidentiality

content

contractual arrangements

copyright

deadlines

direct quotes

duration

intellectual property

interviews

location

purpose

schedule

style.

Consumables may include:

audiotape, e.g. digital and open-reel analogue

compact discs, e.g. CD-R and CD-RW

cue sheets and track sheets

digital versatile discs, e.g. DVD-/+R and DVD-/+RW

masking tape, marker pens and labels

mini discs (MDs)

memory cards, e.g. flash memory cards.

Microphones may include:

boundary (PZM)

capacitor/condenser, such as:

electret

lavalier

mini microphone

transistor

tube

contact

digital

directional, such as:

single entry port

multiple entry port

multi/poly-directional

dual-element

dynamic, such as:

moving coil

ribbon

headset

low and/or high impedance

microphone systems, such as:

adaptive array

binaural

high definition

parabolic

surround sound

wireless

cordless

FM

radio transmitter

noise cancelling

shotgun.

Microphone accessories may include:

boom poles, including:

aluminium

carbon fibre

fisher

hand-held

perambulator

remote panner

tripod

cables, including:

balanced

unbalanced

clips

connectors, including:

female

male

XLR

housing

pop filters

shock mounts

stands, including:

desk

floor

gooseneck

windscreens.

Principles of microphone operation may include:

balanced and unbalanced audio transmission

diaphragm diameter and frequency response

diaphragm mass and transient response

differential input and single-ended input

directional characteristics, including:

omnidirectional (non-directional)

unidirectional, e.g. sub-cardioid, wide angle cardioid, cardioid, super-cardioid, hyper-cardioid and ultra-cardioid

bi-directional

ground loops and ground lift

magnetic induction

matching high/low impedance (passive/active DI interface)

phase cancellation and acoustic comb filtering

pickup pattern (polar response pattern)

polarity

sound response, such as:

frequency response

hum

maximum sound pressure level

overload limit

proximity effect

self-noise

sensitivity

signal-to-noise ratio

transduction

variable capacitance.

Signal processing may include:

amplitude (dynamic) signal processing:

compressors, e.g. broadband, split-band, de-esser

limiters

expanders

noise gates

pitch shifters

noise processing, such as:

Dolby

dbx

DSP

spectrum signal processing:

equalisers, e.g. fixed frequency, graphic, parametric and paragraphic

filters, e.g. high/low pass, band pass and notch

psychoacoustic processors

time signal processing:

reverberation, e.g. digital, plate and acoustic chamber

delay, e.g. doubling, chorus, slap back and prereverb

flanging, e.g. positive and negative

phasing

morphing.

Appropriate recording techniques may include:

articulation and voicing

breathing

microphone use

pitch

playing, singing and performing style

timing

tone

tuning

volume.

Production set-up report may include:

console settings

effects settings

microphone choices

patch bay wiring

processor settings

track sheets.

Work environment may include:

dubbing theatre

outside broadcast

recording studio

sound stage.