Standards and assessment map

01 · Plan the session and learn the workspace

Save your own working copy of the supplied Street Life project, close it, and reopen it. Play a short passage and locate transport, input, output, and listening controls. Write a workflow plan for the supplied-track exercises. Separately, outline the equipment and input count you would need to record musicians. Keep a reopened backup.

Mapped standard and assessed work

Organize and preserve session files

Plan within project limits

The named work assesses this part of the standard; consult the official source for its complete scope.

Work and evidence

Evidence to present

Named session, reopened portable backup, input count, equipment list and recording brief.

1. Your project is named Exercise-201 and saved as a separate copy.
2. The same tracks and audio return when you reopen it.
3. You can point to the play and stop controls, track inputs, track outputs, and listening level.
4. Your recording plan names the instruments, recording order, and equipment you need.
5. The plan accounts for simultaneous inputs, monitoring, storage, deliverables and budget.
6. A portable backup reopens with its audio; identify a second storage location for irreplaceable work.

Knowledge questions: M01Q01, M01Q05 · Final tasks: Reviewed in the retained lesson portfolio.

02 · Noise, sound and recording formats

Listen to the original, hiss, and hum examples. Describe the difference between them. Draw the path from microphone to speakers and list where you would check for noise. Note the recording format, session format, and export format. Keep a stereo edit with both channels aligned, a sample-source/permission note, a format worksheet and a listening/clocking plan. Identify which measurements or hardware tests you actually performed.

Mapped standard and assessed work

Explain sound behavior

Explain a complex idea visually

The named work assesses this part of the standard; consult the official source for its complete scope.

Work and evidence

Evidence to present

Noise comparisons, labeled signal-path drawing, stereo edit, permission note, format calculations and listening/clocking plan.

1. Describe the hiss and hum you hear.
2. Draw the signal path and explain where you would start checking for noise.
3. Identify the audio-file, session, and export formats.
4. Explain why input gain and listening volume have different jobs.
5. The stereo sample retains the timing relationship between its channels and the original recording remains available.
6. The sample-source note explains the permissions for the exercise and for a separate release.
7. The worksheet distinguishes sample rate, amplitude resolution, floating-point processing, conversion and dither.
8. The listening and clocking plans identify the equipment and settings; actual readings are distinguished from planned measurements.

Knowledge questions: M01Q02, M01Q03, M01Q04 · Final tasks: formats

03 · Prepare a track and study the recording path

Create and reopen the empty mono Mic Test track. Identify its controls and draw the path a live microphone signal would follow. Study the optional recording procedure below; make a microphone recording only if you choose that practical.

Mapped standard and assessed work

Operate and explain technology

Choose and position microphones

Required work assesses recording-path and placement planning. Optional physical microphone recording supplies the hands-on evidence for the equipment-use portion; a plan alone earns no claim of demonstrated microphone operation.

Work and evidence

Evidence to present

Saved mono Mic Test track and a labeled microphone-to-monitoring plan. Keep optional recorded audio separately if performed.

1. Mic Test is mono, disarmed, and saved with its output on Master.
2. The track settings return after reopening.
3. The signal-path drawing identifies microphone, preamp, conversion, DAW, and listening output.
4. Explain the different jobs of input gain, track level, and headphone volume.

Knowledge questions: M02Q01 · Final tasks: reflection

04 · Study microphone placement and plan a comparison

Use Roger’s recording instruction to make a labeled microphone-test plan covering pickup pattern, proximity effect, room sound, and instrument placement. Explain what each comparison would teach. Your own microphone recordings are optional.

Mapped standard and assessed work

Choose and position microphones

Required work assesses recording-path and placement planning. Optional physical microphone recording supplies the hands-on evidence for the equipment-use portion; a plan alone earns no claim of demonstrated microphone operation.

Work and evidence

Evidence to present

Pickup-pattern and placement diagrams, predicted distance/room changes and a two-microphone spacing plan. Identify any optional recordings actually made.

1. Identify suitable equipment for each planned test.
2. Show the microphone pattern and the positions you would compare.
3. Explain how gain, distance, direction, and room affect the comparison.
4. Include an acoustic-source placement plan and a two-microphone spacing plan.
5. Distinguish your planned predictions from any optional recordings you actually made.

Knowledge questions: M02Q02 · Final tasks: reflection

04B · Compare Shabby Road microphone models

Compare two microphone models on the same phrase at similar listening levels. Save the one you prefer, then switch it off and on to explain what it changes.

Mapped standard and assessed work

Judge a musical result

Operate and explain technology

The named work assesses this part of the standard; consult the official source for its complete scope.

Work and evidence

Evidence to present

The same phrase through two named models, comparison levels and a reopened preferred setting.

1. Name both models and their comparison-gain settings.
2. Use the same phrase for both models.
3. Save and reopen the preferred setting.
4. Explain how a modeled change differs from moving a real microphone.

Knowledge questions: M02Q03, M02Q04 · Final tasks: Reviewed in the retained lesson portfolio.

05 · Trace the channel strip

Draw the channel’s signal path. Show where an insert processes the sound and where a send feeds a reverb return. Play the track and demonstrate each route.

Mapped standard and assessed work

Break down a system

Operate and explain technology

The named work assesses this part of the standard; consult the official source for its complete scope.

Work and evidence

Evidence to present

Channel diagram, insert/bypass comparison and audible send-to-return demonstration.

1. The drawing matches the route you hear.
2. Explain the difference between track level, send level, and listening volume.

Knowledge questions: M02Q05 · Final tasks: routing

06 · Prepare the supplied-performance capture exercise

Create the stereo Drums destination with Record input Bus 1-2, output Master, and level 0 dB. Keep the supplied sources hidden and their routes intact. Save the setup; make the first capture in lesson 07.

Mapped standard and assessed work

Operate and explain technology

Organize and preserve session files

The named work assesses this part of the standard; consult the official source for its complete scope.

Work and evidence

Evidence to present

Stereo Drums destination: Bus 1–2 input, Master output, unity level and preserved supplied-source routing.

1. Drums is stereo with Bus 1-2 input, Master output, and 0 dB level.
2. The supplied source routing is preserved.
3. Explain that Record copies supplied audio into the destination; no musician is performing live.

Knowledge questions: M03Q01, M03Q02 · Final tasks: routing, fault

07 · Capture the supplied first drum take

Record the first drum take through 00:55. Listen back, locate the mistake, and keep the take for comparison with the next recording.

Mapped standard and assessed work

Operate and explain technology

Edit audio in software

The named work assesses this part of the standard; consult the official source for its complete scope.

Work and evidence

Evidence to present

Retained first take ending at 00:55, replayed with the source feed muted.

1. A new recording appears on Drums.
2. The recording ends at 00:55.
3. The recorded take still plays when its source feed is muted.

Knowledge questions: M03Q03 · Final tasks: Reviewed in the retained lesson portfolio.

08 · Capture and retain the supplied second drum take

Record the complete second drum take without overwriting the first. Compare them, select the second for overdubs, then save and reopen the project.

Mapped standard and assessed work

Edit audio in software

Organize and preserve session files

The named work assesses this part of the standard; consult the official source for its complete scope.

Work and evidence

Evidence to present

Both drum takes, selected complete take, markers and reopened session.

1. Both drum takes are kept.
2. The second take is selected for overdubs.
3. Both takes and their markers return when the project reopens.

Knowledge questions: M03Q04 · Final tasks: edits

09 · Separate playback balance from recording level

Compare the track fader and device listening-volume control using the supplied drum takes. Restore the starting balance. Explain a performer cue-mix example and draw its route. No live microphone recording is required.

Mapped standard and assessed work

Operate and explain technology

The named work assesses this part of the standard; consult the official source for its complete scope.

Work and evidence

Evidence to present

Restored playback balance, independent cue-mix drawing and explanation of recording versus listening levels.

1. Explain the jobs of source level, playback fader, master, and listening volume.
2. Keep the supplied audio and source routing unchanged.
3. Restore the exercise balance after the comparison.
4. Describe a performer’s monitoring need and the route for an independent cue mix.

Knowledge questions: M03Q05 · Final tasks: Reviewed in the retained lesson portfolio.

10 · Capture supplied bass and organ together

Record bass and organ together on separate mono tracks. Listen to each new track on its own, then with the drums. Save and reopen the project.

Mapped standard and assessed work

Operate and explain technology

Edit audio in software

The named work assesses this part of the standard; consult the official source for its complete scope.

Work and evidence

Evidence to present

Separate Bass and Organ captures, common timing, Organ pan and individual/context playback after reopening.

1. Bass and Organ record from their intended buses and begin together.
2. The drum takes remain unchanged.
3. Pan Organ about halfway right and listen through the stereo output.
4. Both new parts play separately and with the drums after reopening.

Knowledge questions: M04Q01, M04Q05 · Final tasks: Reviewed in the retained lesson portfolio.

11 · Capture the supplied stereo Rhodes

Record the stereo Rhodes part. Listen to its left and right channels and check it with the existing arrangement.

Mapped standard and assessed work

Operate and explain technology

Edit audio in software

The named work assesses this part of the standard; consult the official source for its complete scope.

Work and evidence

Evidence to present

Stereo Rhodes capture on Bus 5–6, with both channels and earlier parts intact.

1. The new Rhodes recording has two channels.
2. Its input is Bus 5–6.
3. The earlier tracks and takes remain unchanged.

Knowledge questions: M04Q02 · Final tasks: Reviewed in the retained lesson portfolio.

12 · Capture supplied guitar and vocal

Record guitar and vocal on separate mono tracks from 00:55 to 05:05. Listen to each and then both in the arrangement. Save a portable copy and reopen it. Explain when you would record the performers in separate passes.

Mapped standard and assessed work

Operate and explain technology

Organize and preserve session files

The named work assesses this part of the standard; consult the official source for its complete scope.

Work and evidence

Evidence to present

Separate Guitar and Vocal captures covering 00:55–05:05, Guitar pan and reopened portable audio.

1. Guitar and Vocal remain separate mono tracks.
2. Pan Guitar about halfway left.
3. Earlier recordings remain unchanged.
4. Both new recordings cover 00:55–05:05.
5. The parts play correctly after saving and reopening.
6. Keep a portable session file that opens with its audio.

Knowledge questions: M04Q03, M04Q04 · Final tasks: Reviewed in the retained lesson portfolio.

13 · Punch in without pre-roll

Record replacement passages at 01:50–02:10 and 03:35–03:50. Save and reopen the project. Listen to each complete phrase and across the beginning and end of each edit.

Mapped standard and assessed work

Edit audio in software

The named work assesses this part of the standard; consult the official source for its complete scope.

Work and evidence

Evidence to present

Two replacement passages, retained originals and complete-phrase playback across every join.

1. Both replacement passages cover the intended times.
2. Audio outside the replacement passages is unchanged.
3. Keep the original takes as well as the replacements.
4. Listen for clipped words, clicks, and unnatural joins.

Knowledge questions: Applied through the module check and practical demonstration. · Final tasks: Reviewed in the retained lesson portfolio.

14 · Punch with pre-roll and post-roll

Record a punch-in with pre-roll and post-roll. Listen to the music before and after the replacement and identify where recording begins and ends.

Mapped standard and assessed work

Edit audio in software

The named work assesses this part of the standard; consult the official source for its complete scope.

Work and evidence

Evidence to present

Punch range, pre/post-roll settings, recorded result and roll reset.

1. The new recording starts and ends at the selected times.
2. Pre-roll and post-roll let you hear surrounding music without replacing it.
3. Reset pre-roll and post-roll to zero after the exercise.

Knowledge questions: M05Q01 · Final tasks: Reviewed in the retained lesson portfolio.

15 · Quick Punch and recover the missed first note

Use Quick Punch, then extend the recorded region to recover the first note you missed. Listen to the recovered entrance with the surrounding phrase.

Mapped standard and assessed work

Edit audio in software

The named work assesses this part of the standard; consult the official source for its complete scope.

Work and evidence

Evidence to present

One retained Quick Punch recording and region extension that recovers its earlier note.

1. The underlying recording includes audio from 04:30 or earlier.
2. The region first starts at 04:40; extend it to about 04:35.
3. The earlier note comes from the same recording.

Knowledge questions: M05Q02 · Final tasks: Reviewed in the retained lesson portfolio.

15B · Practice loop capture and comp editing

Keep three loop passes from the supplied bus and practice building a comp with passages from at least two retained copies. Check timing and joins, then save and reopen. Explain why identical source repetitions offer no choice between different musical performances. Recording your own alternate performances is optional. Before continuing the main exercises, mute the practice comp and unmute its original destination track. Play the passage and check that you hear the original track again. Keep the comp in your separate practice version.

Mapped standard and assessed work

Edit audio in software

The named work assesses this part of the standard; consult the official source for its complete scope.

Work and evidence

Evidence to present

Three retained supplied-source passes, separate practice comp, checked joins, reopened project and restored main arrangement.

1. Keep the three supplied-source passes and any partial pass.
2. Retain the original copies while editing.
3. Check the same interval from each pass.
4. Explain that repeated bus passes contain the same performance.
5. The practice comp joins passages from at least two retained copies without shifting timing.
6. The comp and source copies remain after reopening.

Knowledge questions: M05Q03, M05Q04, M05Q05 · Final tasks: edits

16 · Mute percussion regions and preserve fills

Choose where the percussion should play and where it should drop out. Mute selected regions while preserving the fills, then explain how the changes support the arrangement.

Mapped standard and assessed work

Edit audio in software

The named work assesses this part of the standard; consult the official source for its complete scope.

Work and evidence

Evidence to present

Individually muted percussion regions, retained original audio and audible fills.

1. Mute individual regions without muting the whole track.
2. Keep the original audio.
3. The selected fills remain audible.

Knowledge questions: M06Q01 · Final tasks: edits

17 · Clean the sax and audition edit boundaries

Clean a gap between sax phrases. Listen across both edit points in the mix, then use Undo to restore the original and compare.

Mapped standard and assessed work

Edit audio in software

The named work assesses this part of the standard; consult the official source for its complete scope.

Work and evidence

Evidence to present

Sax-gap edit, boundary playback and an Undo comparison with attacks and decays preserved.

1. The edit changes the gap while keeping the original audio available.
2. Keep the phrase attacks and decays intact.
3. Note any clicks or abrupt changes at the joins.

Knowledge questions: M06Q02, M06Q05 · Final tasks: edits

18 · Reveal the remaining mix tracks

Bring back the remaining parts and listen to the complete arrangement. Hide one track without silencing it, then make it inactive and explain the difference.

Mapped standard and assessed work

Operate and explain technology

Break down a system

The named work assesses this part of the standard; consult the official source for its complete scope.

Work and evidence

Evidence to present

Complete arrangement, source/destination routing and hide-versus-inactive playback comparison.

1. Each intended part plays once.
2. Hiding a track changes the display; making it inactive stops its participation in playback.
3. Track names match the parts you hear.

Knowledge questions: M06Q03, M06Q04 · Final tasks: routing, fault

19 · Build the balance and stereo image

Build a balance and stereo image for the song. Explain two choices by playing the passage before and after each change.

Mapped standard and assessed work

Judge a musical result

The named work assesses this part of the standard; consult the official source for its complete scope.

Work and evidence

Evidence to present

Saved level/pan choices, stereo sources retained and before/after passages without clipping.

1. Avoid clipping.
2. Keep stereo sources in stereo.
3. Explain how the level and pan choices serve the song.

Knowledge questions: Applied through the module check and practical demonstration. · Final tasks: processing

20 · EQ balance and remove unnecessary low end

Use EQ on a midrange instrument. Find a high-pass cutoff that removes unwanted low end without thinning the part, then compare it with bypass in the full mix.

Mapped standard and assessed work

Judge a musical result

The named work assesses this part of the standard; consult the official source for its complete scope.

Work and evidence

Evidence to present

EQ frequencies, gain and bandwidth; cutoff experiment, bypass comparison and reopened settings.

1. Note the frequency, gain, and bandwidth of each band you use.
2. After finding where the sound begins to thin, lower the cutoff by about 15 percent and listen again.
3. Compare the same passage at similar listening levels.
4. Save and reopen the chosen settings.

Knowledge questions: M07Q01 · Final tasks: processing

21 · Compress the vocal gently

Compress the vocal gently. Use the gain-reduction meter while listening, then compare compression and bypass at similar loudness.

Mapped standard and assessed work

Judge a musical result

The named work assesses this part of the standard; consult the official source for its complete scope.

Work and evidence

Evidence to present

Compressor settings, observed gain reduction and similar-loudness bypass comparison.

1. Start with a 2:1 ratio.
2. Aim for about 3 dB of reduction on vocal peaks, adjusting by listening.
3. Note threshold, attack, release, and output gain.

Knowledge questions: M07Q02, M07Q03 · Final tasks: processing

22 · Build one shared reverb return

Create one shared reverb return. Send the vocal and one other instrument to it, adjust their send levels, and explain how the shared space joins them.

Mapped standard and assessed work

Judge a musical result

The named work assesses this part of the standard; consult the official source for its complete scope.

Work and evidence

Evidence to present

Stereo fully wet 1.6-second return, two saved sends and 250 Hz return high-pass, with no return feedback.

1. Use one stereo return, 100 percent wet, with a 1.6-second decay.
2. The return adds reverb without duplicating the dry signal.
3. Save the send levels and avoid a feedback loop.
4. Place UNIQUEL-IZER after Studio ’76 and enable a 250 Hz high-pass filter on the return.

Knowledge questions: M07Q04, M07Q05 · Final tasks: processing, fault

23 · Refine balances with the one-dB test

Choose two parts. Move each fader up 1 dB and down 1 dB while listening in the mix. Return to the starting level between comparisons and explain which level you keep.

Mapped standard and assessed work

Judge a musical result

The named work assesses this part of the standard; consult the official source for its complete scope.

Work and evidence

Evidence to present

Two parts compared at original level and ±1 dB, with processing and master held steady.

1. Compare the original level with both 1 dB changes.
2. Keep other processing and master settings unchanged.
3. Explain the musical reason for your choice.

Knowledge questions: Applied through the module check and practical demonstration. · Final tasks: processing

24 · Keep useful mix notes

Write three mix notes with times and clear descriptions. Make the changes, replay each passage, and mark the notes resolved or explain what still needs work.

Mapped standard and assessed work

Use feedback to improve work

The named work assesses this part of the standard; consult the official source for its complete scope.

Work and evidence

Evidence to present

Three timed mix notes, saved corrections and replay before resolution.

1. Each note identifies a passage you can find.
2. Save the changes you keep.
3. Replay the passage before marking a note resolved.

Knowledge questions: M08Q04 · Final tasks: automation

25 · Write and read fader automation

Write a short vocal-level ride. Switch to Read and play it back, then save and reopen the session.

Mapped standard and assessed work

Operate and explain technology

Edit audio in software

The named work assesses this part of the standard; consult the official source for its complete scope.

Work and evidence

Evidence to present

Named Vocal ride, visible points, Write/Read comparison and reopened repeatable playback.

1. The automation points appear on the intended track.
2. Read mode repeats the level move.
3. Name the track and the passage you changed.

Knowledge questions: M08Q01 · Final tasks: automation, fault

26 · Edit automation breakpoints

Move one automation point, move a group of points, and raise or lower a segment. Listen after each change and undo one edit.

Mapped standard and assessed work

Edit audio in software

The named work assesses this part of the standard; consult the official source for its complete scope.

Work and evidence

Evidence to present

Single-point, group and segment edits, an Undo comparison and checked manual level after erasure.

1. The points and curve change as intended.
2. Moving a group keeps the spacing between its points.
3. After erasing automation, check the track’s manual level.

Knowledge questions: M08Q02, M08Q03 · Final tasks: automation

27 · Level vocal phrases throughout the song

Adjust the vocal level through the whole song. Explain at least two rides and play the passages before and after the changes.

Mapped standard and assessed work

Judge a musical result

The named work assesses this part of the standard; consult the official source for its complete scope.

Work and evidence

Evidence to present

Two explained vocal rides and complete-song playback after editing.

1. The rides follow the intended phrases.
2. Listen to the whole song after editing.
3. Explain how the changes help the words and performance.

Knowledge questions: M08Q05 · Final tasks: automation, reflection

28 · Prepare the final mix range

Choose the start and end of the final export. Leave the opening intact and enough time for the last note and effects to fade. Play both ends before exporting.

Mapped standard and assessed work

Plan within project limits

The named work assesses this part of the standard; consult the official source for its complete scope.

Work and evidence

Evidence to present

Saved export range, clean lead-in, full ending/fade and checked arm/solo/mute states.

1. The selected range includes the complete song.
2. Leave a short, clean lead-in before the first note.
3. Include the final decay and master fade.
4. Check for unwanted solos, mutes, or armed tracks.

Knowledge questions: M09Q01 · Final tasks: delivery

29 · Export and verify the finished file

Export the final mix and play the downloaded file from beginning to end. Save a portable copy of the editable project and reopen it. Complete the delivery sheet, conversion plan and manufacturing approval plan. Make any additional files your tools support, and identify the formats that require another export or mastering tool.

Mapped standard and assessed work

Organize and preserve session files

Operate and explain technology

The named work assesses this part of the standard; consult the official source for its complete scope.

Work and evidence

Evidence to present

Actual export with measured format, complete playback, reopened portable session and recipient-specific delivery/conversion/manufacturing sheet.

1. The downloaded file opens in an audio player and has the intended stereo format.
2. Its beginning and ending match your selected range.
3. Listen for missing parts, missing effects, silence, or a cut-off ending.
4. The reopened project retains its audio, edits, effects, and automation.
5. The delivery sheet covers mastering, distributor/service delivery, Apple Digital Masters, vinyl, cassette and audio CD without treating their specifications as interchangeable.
6. Explain floating-point headroom, fixed-point output, sample-rate conversion and the final dither step.
7. Distinguish upload format, playback normalization and true-peak guidance; identify the provider instructions used.
8. The manufacturing plan includes sequence, side/track details and a reference-copy approval.

Knowledge questions: M09Q02, M09Q03, M09Q04 · Final tasks: delivery, formats

30 · Complete the training and explain the mix

Present your finished mix and editable session. Explain your supplied-source routing, editing, EQ, compression, reverb or delay, and automation choices. Separately, describe a microphone or input-gain decision you would make when recording musicians; identify it as a plan unless you completed the optional practical. Play examples that show what those decisions changed. Include the client brief, two revisions, an approval/handoff note and a saved previous version. Explain how you served the artist’s intention.

Mapped standard and assessed work

Document skills in a portfolio

Present to a chosen audience

The named work assesses this part of the standard; consult the official source for its complete scope.

Work and evidence

Evidence to present

Final project/mix, before/after examples, separate recording plan, client brief, two revisions, preserved version 1 and named handoff.

1. Provide the editable project and playable mix.
2. Check the files by opening and playing them.
3. Use specific passages to explain your decisions.
4. Review unfinished exercises and complete them before presenting the final mix.
5. The brief identifies musical intent, scope, schedule, deliverables and approval.
6. Two revision requests are addressed in a new version while the previous version is retained.
7. The handoff identifies the files and version for approval, and the explanation includes a practical client-service judgment.

Knowledge questions: M09Q05 · Final tasks: service, reflection