Manage production of sound recordings

Unit of competency Outline

Date retreived
23/07/2026 6:03 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.

Unit of competency

National Code
CUSSOU602A

State Code
D2976

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

25/05/2010

Field of Education

080315 - Project Management

Original Release Date

25/05/2010

Nominal Hours

Description

This unit describes the performance outcomes, skills and knowledge required to manage the production of sound recordings. Well-developed planning and organisational skills are required, along with an ability to work collaboratively and creatively in a leadership role with those who contribute to the production of sound recordings, e.g. artists, performers, producers and sound specialists.

Notes

Elements and Performance Criteria

1. Clarify sound-recording brief

1.1 Participate in production meetings with relevant personnel to confirm the vision, sound concepts, production values and expected outcomes for recording projects
1.2 Confirm production requirements
1.3 Finalise and confirm repertoire, artists and operational details for recording projects in consultation with relevant personnel

2. Organise resources

2.1 Identify and confirm production staff requirements and recruit personnel needed for recording projects
2.2 Ensure artists are secured, confirmed and contracted as required
2.3 Identify and secure appropriate venues and resources for rehearsal and recording sessions
3.4 Ensure that contracts required for staff and venues are finalised

3. Prepare for production of sound recordings

3.1 Ensure that arrangements are in place for ongoing communication with relevant personnel so that artistic vision can be achieved and resources are available when required
3.2 Ensure that accurate rehearsal and recording session schedules are drawn up and distributed to relevant personnel
3.3 Ensure that a project schedule for production meetings is finalised and distributed to each technical team member
3.4 Anticipate issues that may arise during the production of sound recordings and plan accordingly
3.5 Ensure that the technical team is fully briefed on operations, production values and contingency plans
3.6 Comply with relevant OHS, copyright and other legal requirements

4. Manage recording sessions

4.1 Ensure that communication in sessions and production meetings is comprehensive and constructive and that documentation is completed correctly
4.2 Ensure that all production resources and requirements are in place for recording sessions and other associated activities
4.3 Communicate systematically with the producer/director to verify and maintain the required production quality
4.4 Communicate with and direct production staff constructively and consistently through prerecording, recording and post-production to achieve agreed production values
4.5 Comply with agreed quality, time and budget constraints at all stages of the production

5. Maintain effective communication with production staff and artists

5.1 Ensure that agendas for production meetings are planned and circulated to all relevant parties in advance and that discussion of concerns is encouraged to establish and achieve planned artistic outcomes
5.2 Ensure that individual perspectives are considered and conflicting requirements are recognised and constructively negotiated
5.3 In collaboration with relevant personnel, ensure that the quality of musical and technical preparation is maintained throughout the production and take action as required

6. Manage post-production

6.1 Ensure that all components of post-production mix meet agreed production values
6.2 Facilitate continuing input from artists and director/producer into the post-production process and take remedial action as required
6.3 Ensure that the physical components of post-production are delivered correctly and in the required formats

7. Evaluate production of sound recordings

7.1 Discuss and obtain agreement from relevant personnel about evaluation techniques
7.2 Focus evaluations on the way the process of managing sound recordings was handled and document results
7.3 Evaluate own role in operations and note areas for improvement
7.4 Provide feedback to team members on their performance as required
7.5 Document evaluation of operations 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:
clients
record companies
artists, musicians and performers
program managers
audio personnel:
sound engineers
sound technicians
sound editors
sound designers
sound effects personnel
post-production editors
foldback mixers
front-of-house mixers
recordists
re-recording mixers
audio stagehands
broadcasters
broadcast engineers
directors
producers
photographers
program managers
stage managers
floor managers
film/video crew.
Production values may include:
artistic quality
overall sound quality aligned with production vision
performance quality manifested in the recording
position and blend of sound sources
relative levels of sound sources
transitions between sound sources
overall sound balance
clarity of the sound
colour of sound
sound textures.
Recording projects may involve:
solo artists
solo artists with backing
groups/ensembles
instrumental, acoustic and/or electronic
vocal
vocal and instrumental
recording live performances.
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.
Venues may include:
dubbing theatre
on location, including interior and exterior
outside broadcast
post-production studio
recording studio
sound stage.
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.
Documentation may include:
pre-mix scripts
mixing sheets
track sheets
de-noising documents
cue sheets
dubbing sheets
queries
notes
manuals.
Formats may include:
quarter inch audiotape
WAV
AIFF
Apple Lossless
WMA
MP3
Vorbis
ATRAC
AAC.
Evaluation techniques may include:
interviews
surveys
questionnaires
focus groups
demographic data
feedback
reviews
evaluation may include:
clients
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:
demonstrate high-level management and communication skills as a team leader
manage at a practical level the production of sound recordings to meet desired production values
produce creative solutions within constraints of budgets and resources.
Context of and specific resources for assessment
Assessment must ensure:
access to a range of industry-current equipment and facilities as listed in the range statement
access to a range of recording projects
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:
evaluation of soundrecordings, where the production was managed by candidate, and of their quality in terms of meeting specifications
written or oral questioning to test knowledge as listed in the required knowledge section of this unit
case studies to assess ability to manage the production ofsound recordings for different types of recording projects
observation or video/audio recordings of production meetings chaired by the candidate to assess team leading skills.
Guidance information for assessment
Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended, for example:
BSBFIM501A Manage budgets and financial plans
BSBOHS509A Ensure a safe workplace
BSBPMG510A Manage projects
CUFCMP501A Manage and exploit copyright arrangements
CUSSOU601A Manage production of sound designs.

Replaces

State Code	National Code	Title	Type
C4038	CUSSOU19A	Manage production for sound recording	Unit of competency

Replaced By

State Code	National Code	Title	Type
AWG62	CUASOU602	Manage production of sound recordings	Unit of competency

State Code	National Code	Title	Type
D207	CUF60107	Advanced Diploma of Screen and Media	Qualification
D364	CUS60209	Advanced Diploma of Sound Production	Qualification