Unit of competency Outline
Date retreived
23/07/2026 1:10 AM AWST
23/07/2026 1:10 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.
Manage production of sound designs
Manage production of sound designs
Unit of competency
National Code
CUSSOU601A
CUSSOU601A
State Code
D2975
D2975
TGA Status
Replaced
Replaced
DTWD Status
Replaced
Replaced
State Implementation and Classification
Approved Date
14/07/2010
Field of Education
080315 - Project Management
Original Release Date
14/07/2010
Nominal Hours
50
Description
This unit describes the performance outcomes, skills and knowledge required to manage the production of a sound design project. 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 designs, e.g. artists, performers, producers and sound engineers.
Notes
Elements and Performance Criteria
1. Clarify sound design brief
- 1.1 Participate in preliminary concept meetings with relevant personnel to discuss sound-design specifications for productions
- 1.2 Read and interpret sound-design specifications to determine and confirm production requirements
- 1.3 Identify and confirm personnel required for the production
- 1.4 Take account of financial and time constraints when planning production of sound designs
- 1.5 Document all operational requirements needed for the production of sound designs
2. Plan the production of sound designs
- 2.1 Secure the personnel, facilities and equipment needed in a timely fashion
- 2.2 Ensure that copyright requirements are met
- 2.3 Contract and brief personnel as required
- 2.4 Ensure that arrangements are in place for ongoing communication with sound designers and other relevant personnel so that artistic vision of sound designs can be achieved and resources are available when required
- 2.5 Anticipate issues that may arise during the production of sound designs and plan accordingly
3. Direct the production of sound designs
- 3.1 Source and obtain all sound components necessary to fulfil creative and technical requirements of production briefs
- 3.2 Comply with relevant OHS legislation and guidelines throughout all stages of productions
- 3.3 Direct the final mix, including recording, mixing and/or editing sound components to achieve the desired sonic finish/style and spatial placement
- 3.4 Obtain feedback from relevant personnel about the sound design and negotiate changes as required
- 3.5 Deal effectively and promptly with conflicts that arise and work towards solutions that cause least disruption to production schedules
- 3.6 Ensure that final mixdown is locked off and transferred to a suitable medium in line with production requirements
- 3.7 Ensure that backup copies are provided for relevant personnel in the required format
- 3.8 Maintain documentation as required through all stages of sound-design implementation
4. Finalise production of sound designs
- 4.1 Discuss and obtain agreement from relevant personnel about evaluation techniques
- 4.2 Focus evaluations on the design-production management process and document results
- 4.3 Evaluate own role in operations and note areas for improvement
- 4.4 Provide feedback to team members on their performance as required
- 4.5 Document evaluation of operations in line with enterprise procedures
- 4.6 Communicate results to relevant personnel and use results to improve future practice
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
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.
Sound-design specifications may include:
dubbing charts
cue sheets
scripts
storyboards
scores
oral descriptions
recording formats.
Productions may include:
feature films and videos
short films and videos
documentaries
drama programs
variety programs
news and current affairs
commercials
print advertisements
talkback programs
live events and performances
music programs
interactive games.
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.
Documentation may include:
pre-mix scripts
mixing sheets
track sheets
de-noising documents
cue sheets
dubbing sheets
queries
notes
manuals.
Operational requirementsmay include:
sound materials
sound sources
facilities, equipment and personnel
technical specifications
schedules.
Facilities may include:
dubbing theatre
on location, including interior and exterior
outside broadcast
post-production studio
recording studio
sound stage.
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)
mini disc recorder (MD)
modular digital multi-track recorder (MDM)
digital audio players, such as:
iPod
MP3
headphones
microphones and accessories
mixing consoles
monitors and speakers
signal processors and plug-ins.
Copyright requirements may include:
provisions of current Copyright Act
copyright permission procedures
attribution
moral rights and performers' 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.
Sound components may include:
dialogue
additional dialogue recording (ADR)
music
literal sound effects
sound samples
synthesised sound
atmospheric sound
ambient sound
sound effects (FX)
foley.
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
stakeholders
audience
project personnel
specialists.
Relevant personnel may include:
clients
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.
Sound-design specifications may include:
dubbing charts
cue sheets
scripts
storyboards
scores
oral descriptions
recording formats.
Productions may include:
feature films and videos
short films and videos
documentaries
drama programs
variety programs
news and current affairs
commercials
print advertisements
talkback programs
live events and performances
music programs
interactive games.
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.
Documentation may include:
pre-mix scripts
mixing sheets
track sheets
de-noising documents
cue sheets
dubbing sheets
queries
notes
manuals.
Operational requirementsmay include:
sound materials
sound sources
facilities, equipment and personnel
technical specifications
schedules.
Facilities may include:
dubbing theatre
on location, including interior and exterior
outside broadcast
post-production studio
recording studio
sound stage.
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)
mini disc recorder (MD)
modular digital multi-track recorder (MDM)
digital audio players, such as:
iPod
MP3
headphones
microphones and accessories
mixing consoles
monitors and speakers
signal processors and plug-ins.
Copyright requirements may include:
provisions of current Copyright Act
copyright permission procedures
attribution
moral rights and performers' 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.
Sound components may include:
dialogue
additional dialogue recording (ADR)
music
literal sound effects
sound samples
synthesised sound
atmospheric sound
ambient sound
sound effects (FX)
foley.
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
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 designs
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 as listed in the range statement
access to a range of productions
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 sounddesigns, 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 designs for different types of productions or events
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
CUSSOU602A Manage production of sound recordings.
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 designs
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 as listed in the range statement
access to a range of productions
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 sounddesigns, 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 designs for different types of productions or events
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
CUSSOU602A Manage production of sound recordings.
Replaces
| State Code | National Code | Title | Type |
|---|---|---|---|
| C4035 | CUSSOU18A | Manage production for sound design | Unit of competency |
Replaced By
| State Code | National Code | Title | Type |
|---|---|---|---|
| AWG63 | CUASOU601 | Manage production of sound designs | 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 |