Unit of competency Outline
Date retreived
22/07/2026 7:06 PM AWST
22/07/2026 7:06 PM AWST
Whilst all efforts are made to provide accurate and timely information from the relevant source/documentation, please be aware that the information supplied may not be the most current version. The accuracy of the detail has not been confirmed by the Department and therefore should not be relied upon without first confirming the contents.
Mix recorded music
Mix recorded music
Unit of competency
National Code
CUSSOU405A
CUSSOU405A
State Code
D2967
D2967
TGA Status
Replaced
Replaced
DTWD Status
Replaced
Replaced
State Implementation and Classification
Approved Date
01/04/2010
Field of Education
100701 - Audio Visual Studies
Original Release Date
01/04/2010
Nominal Hours
50
Description
This unit describes the performance outcomes, skills and knowledge required to mix music that has been recorded live or in a studio. This involves balancing all instrumentals, vocals and recorded/imported sounds, and adding effects. Knowledge of musical styles and mixing conventions is essential, along with highly developed aural-perception skills and the ability to communicate effectively with clients, performers and colleagues.
Notes
Elements and Performance Criteria
1. Prepare for music mix
- 1.1 In consultation with relevant personnel, clarify mixing requirements with reference to documentation from recording sessions
- 1.2 Allocate sufficient time to complete the mix and line up facilities and equipment accordingly
- 1.3 Anticipate problems that may arise during the mixing process and plan accordingly
2. Mix music elements
- 2.1 Ensure that headphones and studio monitors are set at appropriate levels
- 2.2 Use a variety of techniques to balance instruments and vocals
- 2.3 Use effects to enhance and give depth to the music mix
- 2.4 Apply knowledge of music genre mix styles to enhance the sound of the mix
- 2.5 Take account of client's tastes and preferences with regard to how the mix should sound
- 2.6 Clean up each track in the mix to remove unwanted sound
- 2.7 Seek feedback on work in progress from relevant personnel and incorporate modifications
3. Finalise mixing operations
- 3.1 Deliver final mix in the required format for mastering
- 3.2 Complete documentation relating to final mix ensuring adequate information is provided for mastering and other relevant personnel
- 3.3 Ensure that facilities and equipment are left clean and tidy
- 3.4 Evaluate own performance against technical and creative criteria and note areas for improvement
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:
artists, musicians and performers
clients
audio and sound engineers
directors
producers
conductors.
Mixing requirements may relate to:
format for mastering:
audio file
digital audiotape (DAT)
2-track analogue tape
versions:
vocal up
vocal only
instrument only
stems
deadlines
production schedule
music style
target audience.
Facilities and equipment may include:
digital audio workstation (DAW) with software, such as:
Pro Tools
Logic
Cubase
Ableton Live
Reason
Nuendo
Garage Band
Digital Performer
Soundscape
Sonic Studio
commercial recording studio
home studio
analogue studio equipment:
mixing console
signal processors, including equalisers and compressors
digital studio equipment:
mixing console
multi-track recorder.
Techniques may include:
starting the mix by manipulating only fader levels and pan positions
soloing individual instruments
starting with a basic setup of all instruments and vocals and refining them in relation to each other
determining the element or elements that work best and building the mix around them
reducing frequencies on some instruments to give the sound of others more prominence
using automation to control various parameters of equipment in real time within the mix
modifying recorded input signal through the use of:
faders
pan pots
equalisers
compressors
gates
various plug-ins or signal processors.
Effects may include:
reverb
delay
echo
reverse echo
pitch shift
pitch correction
time stretching
robotic voice effects
flanger
phaser.
Elements of mix styles may include:
drum and bass levels
level of lead vocals
level of vocals in relation to instruments
relative volumes of instruments for foregrounding and backgrounding
relative levels of added effects.
Cleaning up tracks may include:
eliminating amp hiss
eliminating crosstalk/spill
using mutes and gates
deleting/erasing sections for arrangement purposes
eliminating circuit noise.
Format may be:
mono
stereo
surround sound.
Documentation may include:
pre-mix scripts
mixing sheets
track sheets
cue sheets
dubbing sheets
queries
notes
manuals.
Relevant personnel may include:
artists, musicians and performers
clients
audio and sound engineers
directors
producers
conductors.
Mixing requirements may relate to:
format for mastering:
audio file
digital audiotape (DAT)
2-track analogue tape
versions:
vocal up
vocal only
instrument only
stems
deadlines
production schedule
music style
target audience.
Facilities and equipment may include:
digital audio workstation (DAW) with software, such as:
Pro Tools
Logic
Cubase
Ableton Live
Reason
Nuendo
Garage Band
Digital Performer
Soundscape
Sonic Studio
commercial recording studio
home studio
analogue studio equipment:
mixing console
signal processors, including equalisers and compressors
digital studio equipment:
mixing console
multi-track recorder.
Techniques may include:
starting the mix by manipulating only fader levels and pan positions
soloing individual instruments
starting with a basic setup of all instruments and vocals and refining them in relation to each other
determining the element or elements that work best and building the mix around them
reducing frequencies on some instruments to give the sound of others more prominence
using automation to control various parameters of equipment in real time within the mix
modifying recorded input signal through the use of:
faders
pan pots
equalisers
compressors
gates
various plug-ins or signal processors.
Effects may include:
reverb
delay
echo
reverse echo
pitch shift
pitch correction
time stretching
robotic voice effects
flanger
phaser.
Elements of mix styles may include:
drum and bass levels
level of lead vocals
level of vocals in relation to instruments
relative volumes of instruments for foregrounding and backgrounding
relative levels of added effects.
Cleaning up tracks may include:
eliminating amp hiss
eliminating crosstalk/spill
using mutes and gates
deleting/erasing sections for arrangement purposes
eliminating circuit noise.
Format may be:
mono
stereo
surround sound.
Documentation may include:
pre-mix scripts
mixing sheets
track sheets
cue sheets
dubbing sheets
queries
notes
manuals.
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:
use all features of current music industry mixing equipment
balance instruments and vocals
incorporate a range of effects into the final mix
work cooperatively with clients and colleagues
meet deadlines.
Context of and specific resources for assessment
Assessment must ensure:
access to a range of work environments and productions where music is mixed
access to current industry-standard 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:
observation of candidate mixing music
direct questioning combined with review of portfolios of evidence and third-party workplace reports of on-the-job performance by candidate
authenticated recordings of music mixed by the candidate
case studies and scenarios as a basis for discussing issues and challenges that arise in the context of mixing music.
Guidance information for assessment
Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended, for example:
CUSIND501A Apply music knowledge and artistic judgement
CUSMLT501A Refine aural-perception skills
CUSSOU401A Record sound.
Overview of assessment
Critical aspects for assessment and evidence required to demonstrate competency in this unit
Evidence of the ability to:
use all features of current music industry mixing equipment
balance instruments and vocals
incorporate a range of effects into the final mix
work cooperatively with clients and colleagues
meet deadlines.
Context of and specific resources for assessment
Assessment must ensure:
access to a range of work environments and productions where music is mixed
access to current industry-standard 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:
observation of candidate mixing music
direct questioning combined with review of portfolios of evidence and third-party workplace reports of on-the-job performance by candidate
authenticated recordings of music mixed by the candidate
case studies and scenarios as a basis for discussing issues and challenges that arise in the context of mixing music.
Guidance information for assessment
Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended, for example:
CUSIND501A Apply music knowledge and artistic judgement
CUSMLT501A Refine aural-perception skills
CUSSOU401A Record sound.
Replaced By
| State Code | National Code | Title | Type |
|---|---|---|---|
| AWG72 | CUASOU409 | Mix recorded music | Unit of competency |
| State Code | National Code | Title | Type |
|---|---|---|---|
| D360 | CUS50109 | Diploma of Music | Qualification |
| D361 | CUS50209 | Diploma of Sound Production | Qualification |