Unit of competency Outline
Date retreived
22/07/2026 8:22 AM AWST
22/07/2026 8:22 AM 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.
Set up and disassemble audio equipment
Set up and disassemble audio equipment
Unit of competency
National Code
CUSSOU303A
CUSSOU303A
State Code
D2960
D2960
TGA Status
Replaced
Replaced
DTWD Status
Replaced
Replaced
State Implementation and Classification
Approved Date
16/05/2014
Field of Education
100701 - Audio Visual Studies
Original Release Date
16/05/2014
Nominal Hours
40
Description
This unit describes the performance outcomes, skills and knowledge required to install and disassemble sound equipment in a range of facilities.
Notes
Elements and Performance Criteria
1. Prepare for installation of audio equipment
- 1.1 In consultation with relevant personnel confirm sound equipment requirements, referring to production documentation as required
- 1.2 Together with relevant personnel, assess the acoustic properties of installation area to ensure that equipment and accessories are appropriate
- 1.3 Calculate power requirements and identify power locations and patching requirements
- 1.4 Communicate special requirements to relevant personnel so that they can be organised in a timely fashion
2. Install audio equipment
- 2.1 Safely and neatly secure and label cabling so that it is clear of moving elements
- 2.2 Set up power distribution
- 2.3 Position microphones, mountings, microphone accessories and cabling
- 2.4 As required, ensure that lapel microphones fitted to personnel meet technical performance standards
- 2.5 Provide phantom power at microphone inputs as required
- 2.6 Perform all installation work with due regard to mechanical and electrical safety considerations
- 2.7 Connect effects rack to mixer as required
3. Align audio equipment
- 3.1 Match interfaces between source and destination according to level, impedance, phase and frequency
- 3.2 Route test signals to the correct signal path
- 3.3 Check that the level of test signal is correct for production requirements
- 3.4 Check systems for potential feedback frequency problems and make adjustments as required
4. Test audio equipment
- 4.1 Check all microphone lines for continuity and patching
- 4.2 Test microphones to ensure that they are functioning correctly to produce the required sound
- 4.3 Fit microphones to relevant personnel to perform sound cues as required
- 4.4 Patch, test and tune sound system to suit facility
- 4.5 Conduct sound check and document adjustments according to organisational procedures
- 4.6 Inform relevant personnel of problems that arise during testing so that they can be rectified in a timely fashion
5. Disassemble audio equipment
- 5.1 Disassemble equipment safely, giving due consideration to other production requirements
- 5.2 Ensure that all equipment and accessories are packed and stored according to safety regulations and production requirements
- 5.3 Check hired equipment against inventory before packing and report lost or damaged equipment to the appropriate personnel
- 5.4 Pack sound equipment for transit as required
- 5.5 Clean work environment after use and restore environment to previous condition
- 5.6 Seek feedback from relevant personnel on own work performance 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
audio and sound engineers
audio and sound technicians
broadcasters
clients
directors
producers
photographers
post-production personnel
program managers
stage managers
sound designers and editors
sound effects personnel
video and sound recorders.
Sound equipment may include:
amplifiers
sound reinforcement systems, including:
front-of-house
stage foldback
limiters
compressors
effects rack
turntables
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
sequencers and samplers
musical instruments.
Productions may include:
live music or theatre performance
commercial
print advertisement
corporate video
feature film and/or video
filmed event and/or performance
interactive media product
internet production
electronic game production
music recording and/or video
promotional trailer
radio broadcast
television program
voice-over.
Documentation may include:
house plans
sound plans
line diagrams
installation schedules
artistic requirements
scripts
musical scores
dubbing sheets
technical/equipment manuals
enterprise operating procedures and standards
stage plans
sound plots
design, director's and sound specifications
production and venue requirements
production schedules
OHS requirements and instructions
manufacturer specifications
performers' requirements
fault report sheets.
Installation area may include:
stage
venues
auditorium
hotels
clubs
front of house.
Positioning microphones includes taking account of factors, such as:
ensuring that safety procedures are followed
organisational requirements
production requirements
ensuring optimum sound quality
ensuring that cabling is mechanically sound and does not transmit vibration to microphones.
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
lapel
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.
Technical performance standards for lapel microphones may include:
ensuring that safety procedures are followed
positioning and connecting aerial optimised pick-up
choosing a transmitter frequency that minimises interference with nearby channels in the frequency band
ensuring that transmitters have appropriate sensitivity
rigging microphone within relevant constraints
ensuring that connection of aerial and related cabling is secure
ensuring that transmitter-receiver location is unobtrusive and comfortable for relevant personnel
ensuring that transmitter-receiver location produces optimum output
ensuring that interaction with relevant personnel is discreet, tactful and causes minimum disruption
ensuring that items that may negatively affect transmission are not present on relevant personnel.
Mechanical safety considerations may include:
observing OHS requirements when installing and checking equipment
checking that the position of microphones, mountings and other recording equipment is safe
using safety chains
laying cabling to avoid potential mechanical danger and to ensure safety.
Electrical safety considerations must include:
following OHS procedures when setting up and checking electrical equipment
checking that mains or generator supply is sufficient for maximum load requirements
ensuring that cables used are correctly rated, including three-phase cable to dimmers
laying cabling so that it does not obstruct the free movement of other equipment or endanger personnel
ensuring that maintenance of cabling and connectors meets OHS requirements
ensuring that all components of sound equipment are connected to the correct voltage supply
ensuring that distribution of electrical loading is within working limits
ensuring that all electrical fittings are tested and tagged in accordance with safety regulations.
Production requirements may include:
purpose and style of production
sound specifications
venue or location requirements
production schedule
organisational policies and procedures
legislative and/or organisational OHS requirements
manufacturer specifications
performers' requirements
resource constraints
length of the run of the production
attributions
audience
budget
confidentiality
content
contractual arrangements
copyright
deadlines
direct quotes
intellectual property
interviews.
Sound cues may be required for:
audience PA
effects
foldback to stage.
Packing sound equipment may involve:
ensuring that containers are suitable for the storage and carriage of the equipment in a safe and secure manner
ensuring that packing of hazardous items complies with current regulations
labelling containers accurately and clearly
checking containers for durability
ensuring documentation for packed equipment is accurate and legible
adhering to strict forward production timelines.
Work environment may include:
dubbing suite
on location, including interior and exterior
outside broadcast
post-production studio
recording studio
sound stage.
Relevant personnel may include:
artists, musicians and performers
audio and sound engineers
audio and sound technicians
broadcasters
clients
directors
producers
photographers
post-production personnel
program managers
stage managers
sound designers and editors
sound effects personnel
video and sound recorders.
Sound equipment may include:
amplifiers
sound reinforcement systems, including:
front-of-house
stage foldback
limiters
compressors
effects rack
turntables
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
sequencers and samplers
musical instruments.
Productions may include:
live music or theatre performance
commercial
print advertisement
corporate video
feature film and/or video
filmed event and/or performance
interactive media product
internet production
electronic game production
music recording and/or video
promotional trailer
radio broadcast
television program
voice-over.
Documentation may include:
house plans
sound plans
line diagrams
installation schedules
artistic requirements
scripts
musical scores
dubbing sheets
technical/equipment manuals
enterprise operating procedures and standards
stage plans
sound plots
design, director's and sound specifications
production and venue requirements
production schedules
OHS requirements and instructions
manufacturer specifications
performers' requirements
fault report sheets.
Installation area may include:
stage
venues
auditorium
hotels
clubs
front of house.
Positioning microphones includes taking account of factors, such as:
ensuring that safety procedures are followed
organisational requirements
production requirements
ensuring optimum sound quality
ensuring that cabling is mechanically sound and does not transmit vibration to microphones.
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
lapel
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.
Technical performance standards for lapel microphones may include:
ensuring that safety procedures are followed
positioning and connecting aerial optimised pick-up
choosing a transmitter frequency that minimises interference with nearby channels in the frequency band
ensuring that transmitters have appropriate sensitivity
rigging microphone within relevant constraints
ensuring that connection of aerial and related cabling is secure
ensuring that transmitter-receiver location is unobtrusive and comfortable for relevant personnel
ensuring that transmitter-receiver location produces optimum output
ensuring that interaction with relevant personnel is discreet, tactful and causes minimum disruption
ensuring that items that may negatively affect transmission are not present on relevant personnel.
Mechanical safety considerations may include:
observing OHS requirements when installing and checking equipment
checking that the position of microphones, mountings and other recording equipment is safe
using safety chains
laying cabling to avoid potential mechanical danger and to ensure safety.
Electrical safety considerations must include:
following OHS procedures when setting up and checking electrical equipment
checking that mains or generator supply is sufficient for maximum load requirements
ensuring that cables used are correctly rated, including three-phase cable to dimmers
laying cabling so that it does not obstruct the free movement of other equipment or endanger personnel
ensuring that maintenance of cabling and connectors meets OHS requirements
ensuring that all components of sound equipment are connected to the correct voltage supply
ensuring that distribution of electrical loading is within working limits
ensuring that all electrical fittings are tested and tagged in accordance with safety regulations.
Production requirements may include:
purpose and style of production
sound specifications
venue or location requirements
production schedule
organisational policies and procedures
legislative and/or organisational OHS requirements
manufacturer specifications
performers' requirements
resource constraints
length of the run of the production
attributions
audience
budget
confidentiality
content
contractual arrangements
copyright
deadlines
direct quotes
intellectual property
interviews.
Sound cues may be required for:
audience PA
effects
foldback to stage.
Packing sound equipment may involve:
ensuring that containers are suitable for the storage and carriage of the equipment in a safe and secure manner
ensuring that packing of hazardous items complies with current regulations
labelling containers accurately and clearly
checking containers for durability
ensuring documentation for packed equipment is accurate and legible
adhering to strict forward production timelines.
Work environment may include:
dubbing suite
on location, including interior and exterior
outside broadcast
post-production studio
recording studio
sound stage.
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:
install and disassemble audio equipment on at least three occasions
interpret sound plans
test equipment in line with production requirements
work cooperatively in a team environment
apply OHS procedures, particularly in relation to working with electrical equipment and safe manual handling.
Context of and specific resources for assessment
Assessment must ensure:
access to a range of industry-current equipment as listed in the range statement
access to venues in which to install audio 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 questioning to assess candidate's understanding of OHS requirements
observation and/or video recordings of the candidate installing, testing and disassembling audio equipment
written or oral questioning to test knowledge of basic principles and techniques of installing and testing audio equipment.
Guidance information for assessment
Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended, for example:
CUESOU01C Repair and maintain audio equipment
CUFIND301A Work effectively in the screen and media industries
CUSIND301A Work effectively in the music industry
CUSOHS301A Follow occupational health and safety procedures
CUSSOU301A Provide sound reinforcement
CUSSOU302A Record and mix a basic music demo.
Overview of assessment
Critical aspects for assessment and evidence required to demonstrate competency in this unit
Evidence of the ability to:
install and disassemble audio equipment on at least three occasions
interpret sound plans
test equipment in line with production requirements
work cooperatively in a team environment
apply OHS procedures, particularly in relation to working with electrical equipment and safe manual handling.
Context of and specific resources for assessment
Assessment must ensure:
access to a range of industry-current equipment as listed in the range statement
access to venues in which to install audio 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 questioning to assess candidate's understanding of OHS requirements
observation and/or video recordings of the candidate installing, testing and disassembling audio equipment
written or oral questioning to test knowledge of basic principles and techniques of installing and testing audio equipment.
Guidance information for assessment
Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended, for example:
CUESOU01C Repair and maintain audio equipment
CUFIND301A Work effectively in the screen and media industries
CUSIND301A Work effectively in the music industry
CUSOHS301A Follow occupational health and safety procedures
CUSSOU301A Provide sound reinforcement
CUSSOU302A Record and mix a basic music demo.
Replaced By
| State Code | National Code | Title | Type |
|---|---|---|---|
| AWG78 | CUASOU308 | Install and disassemble audio equipment | Unit of competency |
| State Code | National Code | Title | Type |
|---|---|---|---|
| J698 | CUA40213 | Certificate IV in Community Culture | Qualification |
| D192 | CUF30107 | Certificate III in Media | Qualification |
| D354 | CUS30109 | Certificate III in Music | Qualification |
| D195 | CUF40107 | Certificate IV in Screen and Media | Qualification |
| D358 | CUS40209 | Certificate IV in Sound Production | Qualification |
| D355 | CUS30209 | Certificate III in Technical Production | Qualification |