Unit of competency Outline

Date retreived
22/07/2026 5:20 AM AWST

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Restore audio tracks

Restore audio tracks

Unit of competency
National Code
CUSSOU304A
State Code
D2961
TGA Status
Replaced
DTWD Status
Replaced
Current Release Number
2.00
Current Release Date
02/11/2011
View on TGA
State Implementation and Classification
Approved Date
18/05/2010
Field of Education
100701 - Audio Visual Studies
Original Release Date
18/05/2010
Nominal Hours
35
Description
This unit describes the performance outcomes, skills and knowledge required to perform restoration work on recorded audio and soundtracks.
Notes
Elements and Performance Criteria
1. Clarify scope of restoration project
  • 1.1 In consultation with relevant personnel confirm restoration requirements
  • 1.2 Ensure that documentation relevant to the project is available
  • 1.3 Where source materials are not supplied, liaise with relevant personnel to locate the most original, best quality recording to be restored
  • 1.4 Evaluate all recordings to be restored for auditioning purposes and technical selection as required
2. Prepare source material for digital transfer
  • 2.1 If required, physically repair and clean source material in preparation for playback, taking great care not to damage the source material
  • 2.2 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
  • 2.3 Set up playback paths and recording settings to ensure a flat, transparent, and where possible uncompressed file
  • 2.4 Set audio levels in line with technical parameters
3. Make digital recording of source material
  • 3.1 Record source material to defined quality standards
  • 3.2 Monitor the recording, and document or mark sections that display recorded artefacts or damage
  • 3.3 As required, record from more than one source
4. Apply restoration techniques to audio tracks
  • 4.1 Select the most appropriate restoration equipment and tools for the job
  • 4.2 Commence restoration by applying manual restoration techniques to the most audible artefacts first, then moving onto less noticeable faults
  • 4.3 Following manual restoration, apply automated restoration processes as required
  • 4.4 Seek feedback on work in progress from relevant personnel and make adjustments
5. Make a copy of restored audio tracks
  • 5.1 Apply appropriate processes to play-out and take into account the end use when creating required delivery format
  • 5.2 Deliver master in the required format to relevant personnel in line with project requirements
  • 5.3 Complete required documentation in line with enterprise procedures
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.
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.
Replaced By
State Code National Code Title Type
AWG77 CUASOU309 Restore audio tracks Unit of competency