- CUSSOU304A - Restore audio tracks
Unit of Competency Mapping – Information for Teachers/Assessors – Information for Learners
CUSSOU304A Mapping and Delivery Guide
Restore audio tracks
Version 1.0
Issue Date: April 2024
| Qualification | - |
Unit of Competency | CUSSOU304A - Restore audio tracks |
|---|---|---|---|
| Description | This unit describes the performance outcomes, skills and knowledge required to perform restoration work on recorded audio and soundtracks. | ||
| Employability Skills | Not applicable | ||
| Learning Outcomes and Application | Sound technicians in the film, television, radio and audio post-production and archival industries apply the skills and knowledge described in this unit. They are responsible for restoring audio tracks to as close to the original recording as possible, taking into account the final application and client requirements. They are usually working with analogue recordings, but the restoration process can also be applied to early digital formats, such as digital audiotapes and compact discs. This work is undertaken with some supervision and guidance. | ||
| Duration and Setting | X weeks, nominally xx hours, delivered in a classroom/online/blended learning setting. |
||
| Prerequisites/co-requisites | Not applicable | ||
| Competency Field | |||
| Development and validation strategy and guide for assessors and learners | Student Learning Resources | Handouts Activities |
Slides PPT |
Assessment 1 | Assessment 2 | Assessment 3 | Assessment 4 | |
|---|---|---|---|---|---|---|---|---|
| Elements of Competency | Performance Criteria | |||||||
| Element: Clarify scope of restoration project |
| |||||||
| Element: Prepare source material for digital transfer |
| |||||||
| Element: Make digital recording of source material |
| |||||||
| Element: Apply restoration techniques to audio tracks |
| |||||||
| Element: Make a copy of restored audio tracks |
| |||||||
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: distinguish between the original sound and unwanted artefacts use appropriate equipment to restore soundtracks to as close to the original recording within guidelines and available resources apply correct post-production processes prescribed for the designated outcome when making a copy of the restored soundtrack meet production deadlines. |
Context of and specific resources for assessment | Assessment must ensure: access to a range of current and obsolete industry equipment 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, and written or oral questioning to assess candidate's understanding of white noise and the process of de-noising soundtracks recordings of original soundtracks and authenticated de-noised versions done by the candidate. |
Guidance information for assessment | Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended, for example: CUFIND301A Work effectively in the screen and media industries CUFSOU301A Prepare audio assets CUSSOU305A Analyse soundtracks. |
Submission Requirements
List each assessment task's title, type (eg project, observation/demonstration, essay, assignment, 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.
This section describes the skills and knowledge required for this unit. |
Required skills |
communication, teamwork and literacy skills sufficient to: interpret and clarify written and verbal instructions complete workplace documentation read and interpret technical manuals respond positively to constructive feedback on own performance critical-listening and aural-discrimination skills in the context of restoring audio tracks technical skills sufficient to: use specialised equipment to perform audio restoration work operate other studio equipment for playback and recording planning and self-management skills sufficient to: prioritise work tasks meet deadlines seek expert assistance when problems arise problem-solving skills sufficient to identify typical faults that may occur in audio-production environments |
Required knowledge |
acoustic principles related to noise and distortion on audio tracks aesthetics of sound production operation of current and obsolete audiovisual equipment appropriate handling and storage of fragile and archival material preservation methods for preparation of source materials restoration principles, tools and technique to apply to different artefacts techniques and principles for removing or masking audio artefacts, including: features and operating characteristics of restoration tools compatibility with mono, stereo or multi-channel systems use of timecode equipment format encoders and decoders principles of media archiving issues and challenges that arise in the context of working with soundtracks 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. | |
Relevant personnel may include: | client production designer post-production manager production manager preservation supervisor supervisor head of department director of photography artist director producer technical director other technical staff other specialist staff designer animation production personnel sound recordist sound editor sound-editing personnel. |
Requirements may include: | artistic technical, e.g. final format for master budget production schedules organisational policies and procedures resources OHS requirements audience confidentiality content contractual arrangements copyright duration intellectual property purpose style. |
Documentation may include: | pre-mix scripts mixing sheets track sheets de-noising documents cue sheets edit decision lists (EDL) dubbing sheets queries notes manuals databases fault reports. |
Source materials may include: | film and television soundtracks, including: music dialogue sound effects oral histories location recordings optical soundtracks analogue audio recordings in different formats, such as: tape, e.g. open reel and cassette wire recording cylinder vinyl disc lacquer disc film mag digital recordings in different formats, such as: digital audiotape CD. |
Repairing and cleaning source material may involve: | replacing dry or sticky film splices attaching leader to film removing adhesive left behind by sticky splices repairing broken or damaged perforations on film sonic cleaning film manually cleaning film baking magnetic oxide tape using hot-pen on audiotape scraping to remove oxide or other matter from oxide tape manually cleaning oxide tape removing mould by vacuum or alcohol swab re-housing tapes if cassette damaged cleaning discs cleaning vinyl discs cleaning and repairing cylinders affixing lacquer fragments that are loose or separated from backing disc to lacquer discs correcting warp in vinyl discs detangling wire recordings joining broken wire recordings. |
Artefacts may include: | white noise hiss clicks pops crackle sibilance hum. |
Recording from more than one source may be required if: | sections are missing from the original version sections are heavily damaged corresponding sections are available from another source and can be edited during the restoration process. |
Equipment and tools may include: | noise reduction systems mono, stereo or multi-channel systems timecode equipment format encoders and decoders audio editing systems sound mixing desks multi-track equipment software packages hard drives analogue and digital playback equipment restoration tools. |
Manual restoration techniques may include: | editing out artefacts editing in missing sections from another source waveform restoration. |
Automated restoration processes may include: | high and low pass filters de-noise de-click de-scratch de-crackle de-hiss repair filter pitch correction noise reduction. |
Appropriate processes may include: | expander limiter compressor compander playback curve. |
Formats may include: | digital file: AIF (AIFF) WAV broadcast WAV format (BWF) WMA OGG advanced audio coding (AAC) Real Audio QuickTime MP3 digital storage: CD DVD USB hard drive linear tape-open (LTO) analogue: film. |
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 |
|---|---|---|---|
| In consultation with relevant personnel confirm restoration requirements | |||
| Ensure that documentation relevant to the project is available | |||
| Where source materials are not supplied, liaise with relevant personnel to locate the most original, best quality recording to be restored | |||
| Evaluate all recordings to be restored for auditioning purposes and technical selection as required | |||
| If required, physically repair and clean source material in preparation for playback, taking great care not to damage the source material | |||
| Select the most appropriate playback machine, taking into account the fragility of source material and the ability of the playback machine to provide the most authentic playback | |||
| Set up playback paths and recording settings to ensure a flat, transparent, and where possible uncompressed file | |||
| Set audio levels in line with technical parameters | |||
| Record source material to defined quality standards | |||
| Monitor the recording, and document or mark sections that display recorded artefacts or damage | |||
| As required, record from more than one source | |||
| Select the most appropriate restoration equipment and tools for the job | |||
| Commence restoration by applying manual restoration techniques to the most audible artefacts first, then moving onto less noticeable faults | |||
| Following manual restoration, apply automated restoration processes as required | |||
| Seek feedback on work in progress from relevant personnel and make adjustments | |||
| Apply appropriate processes to play-out and take into account the end use when creating required delivery format | |||
| Deliver master in the required format to relevant personnel in line with project requirements | |||
| Complete required documentation in line with enterprise procedures |
Forms
Assessment Cover Sheet
CUSSOU304A - Restore audio tracks
Assessment task 1: [title]
Student name:
Student ID:
I declare that the assessment tasks submitted for this unit are my own work.
Student signature:
Result: Competent Not yet competent
Feedback to student
Assessor name:
Signature:
Date:
Assessment Record Sheet
CUSSOU304A - Restore audio tracks
Student name:
Student ID:
Assessment task 1: [title] Result: Competent Not yet competent
(add lines for each task)
Feedback to student:
Overall assessment result: Competent Not yet competent
Assessor name:
Signature:
Date:
Student signature:
Date: