Elements and Performance Criteria

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.
Recording projects may be for:
solo artists
solo artists with backing
groups/ensembles
vocal
vocal and instrumental
instrumental, acoustic and/or electronic.
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.
Relevant personnel may include:
clients
artists, musicians and performers
directors
producers
post-production personnel
program managers
sound designers and editors
video and sound recorders
audio personnel:
sound engineers
sound technicians
sound editors
sound designers
sound effects personnel
recordists
re-recording mixers
broadcasters
broadcast engineers.
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.
Recording site may include:
dubbing theatre
on location, including interior and exterior
outside broadcast
post-production studio
recording studio
sound stage.
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
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)
digital audio players, such as:
iPod
MP3
headphones
microphones and accessories
mixing consoles and desks
monitors and speakers
signal processors and plug-ins.
Formats may include:
quarter inch audiotape
WAV
AIFF
Apple Lossless
WMA
MP3
Vorbis
ATRAC
AAC.
Media may include:
radio
video
CD
DVD
computer hard drive
internet
mobile device
film.
Evaluation techniques may include:
interviews
surveys
questionnaires
focus groups
demographic data
feedback
reviews
evaluation may include:
clients
record companies
stakeholders
audience
project personnel
specialists.

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:
produce at least two sound recordings that demonstrate:
well-developed critical-listening and aural-discrimination skills
a creative and appropriate musical concept that demonstrates knowledge of musicianship, repertoire, recording techniques and an awareness of sound design possibilities
work creatively, collaboratively and constructively with performers to produce a sound recording.
Context of and specific resources for assessment
Assessment must ensure:
access to:
relevant instruments and equipment
scores, charts or other written music resources
participants, such as performers and technical crew
appropriate recording facilities with adequate space and acoustic qualities
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 a recording session where the candidate is the producer
written or oral questioning to test knowledge as listed in the required knowledge section of this unit
authenticated musical recordings where the candidate was the producer
authenticated samples of project plans prepared by the candidate
case studies and scenarios as a basis for discussion about issues and challenges that arise in the context of producing musical recordings.
Guidance information for assessment
Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended, for example:
BSBPMG510A Manage projects
CUFCMP501A Manage and exploit copyright arrangements
CUSSOU504A Create a final sound balance
CUSSOU603AManage production of sound recordings.