This unit describes the skills and knowledge required to mix multiple channels (music, FX or other sounds).

1.1 Ensure that the sound sources are appropriate for the technical and creative requirements of the production including:    

• level  
• tonal quality 
• balance 
• perspective 
• frequency 
• suitability. 

1.2 Ensure that audio and decibel levels do not exceed accepted standard reference levels. 

1.3 Check sound sources for audible defects, and if possible ensure that any defects are eliminated before mixing. 

1.4 Where necessary, ensure that sound sources recorded from different mediums have the required compatibility. 

1.5 Complete assessment of sound sources within the constraints of production requirements. 

1.6 Assess the possibilities and/or difficulties associated with sound sources and explain these clearly to relevant personnel. 

2.1 Mix given tracks and/ or other sound sources to achieve required artistic effects. 
    
2.2 Produce transitions between sounds that are technically accurate and produce the required effect. 
    
2.3 Apply effects where and as required. 
    
2.4 Ensure that levels of sound sources meet current safety standards. 
    
2.5 Ensure that the level of the composite signal is within technical limits and the desired dynamic range.

3.1 Assess the mix on the range of speakers appropriate to the particular end use. 
    
3.2 Assess each track for correctness and quality and evaluate the sound mix for correctness, quality and required effect. 
    
3.3 Play back final mix with relevant personnel to assess the quality of the sound mix in relation to production requirements. 
    
3.4 Discuss and agree upon any changes required to improve the quality of the sound mix. 
    
3.5 Apply and incorporate any final necessary adjustments to the sound mix. 
    
3.6 Keep all records as required.

• music programs
• live events and performances
• feature films and videos
• documentaries
• short films and videos
• animation
• drama programs
• advertisements/commercials
• sporting broadcasts
• news broadcasts
• talkback programs
• interactive multimedia.

• live performance
• recorded studio performance
• post production
• live to air broadcast
• location filming.

• location
• budget
• artistic
• timelines/deadlines.

• digital recorders with/without timecode
• analogue recording devices
• multi track recorder
• stereo recorder
• portable mixers
• microphones including dynamic, condenser, lavalier or neck, shotgun, directional
• special application
• radio
• stereo
• amplifiers
• microphone stands
• microphone accessories
• microphone windscreens
• speakers
• mixing console/desk - analogue, digital, digitally controlled analogue (hybrid)
• effects rack
• tape machines
• turntables
• CD player/burner
• sequence sampler
• computer DAT
• mini disc
• reel to reel tape recorder
• hard disc recorder
• DVD
• sound editing software including Protools and Fairlight
• cables and connectors.

• ¼ inch audio tape
• Betacam SP
• Umatic
• Super VHS
• VHS.

• hissing
• popping
• black holes
• others.

• dubbing charts
• track sheets
• scripts
• scores
• cue sheets
• manuals.

• dialogue
• additional dialogue/voice overs
• effects
• music
• atmosphere
• foley.

• producers
• directors
• artists
• conductors
• editors
• program managers
• broadcasters
• performers
• other technical staff
• other specialist staff.

Assessment must include evidence of essential knowledge of, and skills in, the following areas:

• understanding spatial imaging and special effects
• operating knowledge of sound mixing consoles
• connecting sound equipment
• knowledge of, and ability to operate, signal processing and effects devices
• knowledge of acoustics
• ability to balance tone colour by equalisation
• manipulating input signals and gain structure using monitoring and metering functions, equalisers, filters, compressors/ expanders, faders and auxiliaries
• knowledge of types of signal distortions that occur in amplifiers
• amplifying music to suit varying live environment conditions
• basic knowledge of electrical theory as it applies to sound
• knowledge of sound terminology
• microphones, consoles, signal flow, and acoustics
• interpreting sound documentation and plans
• identifying typical faults that may occur in audio production environments
• applying simple maintenance to a range of audio systems
• critical listening and aural discrimination
• knowledge of computer technology
• knowledge of relevant OHS requirements, in particular safe noise levels
• effective communication.

This unit has strong linkages to the following units and combined training delivery and/or assessment is recommended:

• CUSSOU04A - Record sound
• CUSSOU07A - Edit sound using analogue systems
• CUSSOU12A - Edit sound using digital systems
• CUSSAF02A - Follow health, safety and security procedures in the music industry
• CUSSOU11A - Operate sound mixing console

The following evidence is critical to the judgement of competence in this unit:

• the interpretation of creative and/or technical requirements and provision of additional ideas in order to produce the desired sound mix.
  

Assessment may take place on the job, off the job or a mix of both of these. Off the job assessment must be undertaken in a closely simulated workplace environment.

Assessment methods must include observation of a practical demonstration. Direct observation may need to occur on more than one occasion to establish consistency of performance. Methods to assess the application of essential underpinning knowledge may include:

• work samples or simulated workplace activities
• oral questioning/interview
• projects/reports/logbooks
• third party reports and authenticated prior achievements
• portfolios of evidence.

Assessment requires access to a range of up to date equipment as listed in the range of variables statement.

to be advised