7603-21-22-23 Assessment Pack v1 PDF

Level 2 VRQ's in Sound
Engineering and Music

Technology (7603)
www.cityandguilds.com
September 2010
Version 1.0 (September 2010)
Assessment pack
7603-21 - Awards
7603-22 - Certificates
7603-23 - Diplomas
About City & Guilds
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Level 2 VRQ's in Sound
Technology (7603)
Assessment pack September 2010
Version 1.0 (September 2010)
7603-21 - Awards
7603-22 - Certificates
7603-23 - Diplomas
Qualification title Qual Accreditatio

Number n number
Level 2 Award in Sound Engineering and Music Technology 7603-21 501/0242/4
Level 2 Certificate in Sound and Music Technology ( Sound Engineering) 7603-22 500/9890/1
Level 2 Certificate in Sound and Music Technology (Sound and Composition) 7603-22 500/9890/1
Level 2 Certificate in Sound and Music Technology ( Technical Assistant) 7603-22 500/9890/1
Level 2 Diploma in Sound and Music Technology 7603-23 500/8806/3
Level 2 VRQ's in Sound and Music Technology (7603) 1

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2 Level 2 VRQ's in Sound and Music Technology (7603)

Contents
1 Introduction to the qualification 4

2 Qualification Structure 5
2 Qualification Structure 6
3 Guidance for assessors 7
4 Accreditation of prior learning/achievement 10
5 Assessment and verification 11
6 Guidance for learners 13
7 Assignments 14
Assignment 201 Employment opportunities, roles and responsibilities in the music
sectors 15
Assignment 202 Studio routing and wiring for music and sound industries 24
Assignment 203 Mixing and recording consoles 34
Assignment 204 Microphones and direct injects (DI) techniques 45
Assignment 205 Equalisation for music and sound industries 56
Assignment 206 Dynamics and effects equipment for music and sound industries 66
Assignment 207 Music instrument digital interface (MIDI) 74
Assignment 208 Sampling and synthesis technology for music and sound industries 83
Assignment 209 Acoustics and monitoring for music and sound 92
Assignment 210 Development of studio recording equipment 103
Assignment 211 Audio analysis for sound engineers 112
Assignment 212 Session management for sound engineers 123
Assignment 213 Music technology for hardware and software 131
Assignment 214 Composing with MIDI-based music technology 137
Assignment 215 MIDI operations 146
Assignment 216 Studio sound synchronisation (film clips) 153
Assignment 217 Studio sound synchronisation (computer games) 162
Assignment 218 Web-based sound and music technology 169
Assignment 219 Acoustics and sound reinforcement systems 180
Assignment 220 DJ technology and sound equipment 193
Assignment 221 Soldering and wiring for music and sound industries (maintenance) 203
Assignment 222 Audio electronics for music and sound industries (maintenance) 213

1 Introduction to the qualification
This document contains the information that centres need to offer the following qualifications:
Qualification titles City & Guilds Ofqual Last Last

qualification accreditation registration certification
numbers numbers date date
AWARD
Level 2 Award in Sound 7603-21 501/0242/4 31/12/2012 31/12/2014
Technology
CERTIFICATES
Level 2 Certificate in Sound 7603-22 500/9890/1 31/12/2012 31/12/2014
and Music Technology
(Sound Engineering)
(Sound and Composition)
(Technical Assistant)
DIPLOMA
Level 2 Diploma in Sound and 7603-23 500/8806/3 31/12/2012 31/12/2014
Music Technology

2 Qualification Structure
2.1 Units
City & Unit title Credit GLH WBA no

Guilds
unit
number
201 Employment opportunities, roles and responsibilities in 6 40 F6013019
music and sound industries
202 Studio routing and wiring for music and sound industries 6 40 L6013024
203 Mixing and recording consoles 6 40 K6013029
204 Microphones and direct inject (DI) techniques 6 40 K6013032
205 Equalisation for music and sound industries 7 40 J6013037
206 Dynamics and effects equipment for music and sound 8 40 J6013040
industries
207 Music instrument digital interface (MIDI) 4 40 Y6013043
208 Sampling and synthesis technology for music and sound 6 40 M6013047
industries
209 Acoustics and monitoring for music and sound industries 8 40 T6013051
210 Development of studio recording equipment 6 40 Y6013057
211 Audio analysis for sound engineers 6 40 H6013059
212 Session management for sound engineers 8 40 D6013061
213 Music technology for hardware and software 4 40 M6013064
214 Composing with MIDI-based music technology 6 40 R6013073
215 MIDI operations 4 40 D6013075
216 Studio sound synchronisation (film clips) 4 40 H6013076
217 Studio sound synchronisation (computer games) 6 40 M6013078
218 Web-based sound and music technology 8 40 K6013080
219 Acoustics and sound reinforcement systems 6 40 T6013082
220 DJ technology and sound equipment 6 40 A6013083
221 Soldering and wiring for music and sound industries 4 40 L6013086
(maintenance)
222 Audio electronics for music and sound industries 6 40 Y6013088
(maintenance)

2 Qualification Structure
2.2 The structures
To obtain the full certificate for the Level 2 VRQ’s in Sound and Music Technology, learners must
achieve one of the combinations outlined below:
Certificate Claim Unit Numbers
Ofqual No: Qualification title Structure Credit GLH Qual Cert

AWARD number Claim
7603-21 unit
501/0242/4 Level 2 Award in Sound 2x mandatory units from 18 80 7603-21 N/A
Engineering and Music 201-222 (maximum of 8
Technology credits)
Ofqual No: Qualification title 3x Pathway structures Credit GLH Qual Cert
CERTIFICATES number/ Claim
7603-22 unit
500/9890/1 Level 2 Certificate in Sound 5x mandatory units 202- 33 200 7603-22 901
and Music Technology ( 206 (33 credits)
Sound Engineering)
500/9890/1 Level 2 Certificate in Sound 6x mandatory units 208, 30 240 7603-22 902
and Music Technology 213-217 ( 30 credits)
(Sound and Composition)
500/9890/1 Level 2 Certificate in Sound 6x mandatory units 202, 34 240 7603-22 903
and Music Technology ( 210,211,219,221 and
Technical Assistant) 222 (34 credits)
Ofqual No: Qualification title Structure Credit GLH Qual Cert
DIPLOMA number Claim
7603-23 unit
500/8806/3 Level 2 Diploma in Sound and 6x mandatory units 201- 59 440 7603-23 N/A
Music Technology 206 (39 credits) plus five
optional units from 207-
222
The pathways for the certificates have the same qualification number therefore to ensure you
receive the right certificate when you register your learners please use the certificate claim
numbers listed in the tables’ far right hand column.
You must enter the relevant Certificate Claim Number as a P or X in Walled Garden in order to claim
the correct Certificate.

3 Guidance for assessors
Important notice
There are two data CD’s provided by City & Guilds to accompany this set of assignments. They
accompany the following optional assignments: 209, 211 and 217.
The audio and data on the CD’s will allow City & Guilds to standardise the assignments for all centres
both nationally and internationally. Please note that .wav file data for assignments 209 and 211
need to be transferred to audio format prior to handing out to learners.
Introduction
City & Guilds have developed this suite of vocational qualifications for the music and sound
industries. The qualifications have been designed to provide learners with the practical skills and
knowledge valued by employers within the industry. This qualification has been developed with
sound engineers from UK music studios to ensure it reflects current industry practices.
The aims of this qualification are to:

• provide learners who work or want to work in the sound and music technology industries with
relevant skills and knowledge
• support Government initiatives towards the Qualifications Credit Framework (QCF). For further
information on the QCF, visit the QCDA website www.qcda.gov.uk.
• allow learners to learn, develop and practice the skills required for employment and/or career
progression in the sound and music technology sectors.
This qualification functions as a stand alone qualification, accredited as part of the QCF at Level 2.
Assignments
Each assignment is divided into a series of tasks. To achieve each unit, learners need to achieve all
the tasks.
Typically there will be a:

• task which requires learners to demonstrate their subject knowledge
• task which requires learners to demonstrate their practical skills
• task which requires learners to demonstrate the occupational skills acquired.
All tasks are graded, and the grades are then aggregated to provide an overall grade for the
assignment for the unit. Learners must pass all tasks in the assignment.
Assignments can be completed in any order. There is no need for learners to begin with unit 201
and then to work through the units in numerical order. Centres will be expected to organise the
assignments in a logical order according to the requirements of the learners and the course eg with
regard to work experience placements, visits.
Research and report tasks

The research and report type activities in the assignment are not closed book tests. Within the
overall time constraints set by the centre, they may be completed away from the centre, in the
students’ own time and at their own pace.

Introducing the assignment work to the students
It will be beneficial to take the learners through what is required in the assignments and the way in
which each part will be graded. Learners should have an opportunity to familiarise themselves with
the way the tasks are graded.
Learners may refer to their tutors for guidance on parts of the assignment work though they should
be aware that, especially for the exploratory tasks, the amount of guidance and support they are
given may be reflected in the grade they are given.
Learners should be able to negotiate extra time where they have a good reason for the request, but
reliability and punctuality are watchwords of employment. Therefore, if the agreed deadline for the
return of work is not met, without a valid reason, they must accept that they may fail or may earn no
better than a Pass grade for their work, regardless of how good it is.
Timings for assignments

A submission schedule should be worked out by the centre, governed by the overall assessment
plan for the course, to be negotiated between tutor/assessor and learner. Practice may show that
some learners could be fast-tracked.
The relationship between course delivery, the handing out of assignments, and the deadlines for
their return are matters for agreement between the tutors and the learners locally.
Submission of assignment work

It is recommended that learners be given an opportunity to submit a draft of their written work to
their tutor/assessor, within an agreed window, to gain feedback on whether they have done enough
to achieve a pass or better for that assignment. Once the assignment has been formally submitted,
however that is the work that will be formally graded. Please note however, that for tasks where
the level of support from the centre is part of the grading criteria, this may prevent learners
achieving a higher grade. Learners should also be informed of the results of missing the centre’s
submission deadline to focus their minds on the need for dependability, reliability ie a professional
approach. Failure to submit on time, without a valid reason, could mean that learners fail the
assignment or cannot obtain better than a pass grade.
Opportunities to repeat tasks within an assignment

Learners who fail a task can repeat the task, at the centre’s discretion, but cannot achieve higher
than a pass grade.
Authenticity
Centres are reminded to check for authenticity of work where learners may be using texts and
internet to complete tasks.
Feedback
Assessors must provide feedback on every occasion that a skills observation takes place. A
proforma for feedback has been included in this assessment pack.
Learner records of course work

Learners should be encouraged to keep their work carefully in a portfolio. This may be an
unfamiliar form of record keeping for many of them, but it is a good discipline which will benefit
them when they progress in their learning and training. In addition, learning themes tend to recur
in linked or higher levels of award and it may only be necessary for them to add a little to what they
have already done to achieve the new standard.

3 Guidance for assessors
3.1 Sample Mark sheet
Overall grading of assignments

Each task will be awarded points. Some tasks are weighted greater than others, therefore carry a
higher number of points. All points should be added together and overall grade determined, as in
example below.
To combine the grades of graded tasks:

• assign a mark for each grade achieved
• add these together and divide by the number given to calculate the average, using the grid
provided
• use the conversion chart to convert back to an overall grade
Example assignment mark sheet
Task Evidence Grade for task Mark

Pass (2 mark)
Merit (4 marks)
Distinction (6 marks)
A Audio recording
Merit 4
B Stereo recording
Distinction 6
Task Evidence Grade for task Mark
Pass (1 mark)
Merit (2 marks)
C Report
Pass 1
D Table
Merit 2
=Total mark for all graded tasks 13
Conversion chart Divided by ÷6

Average Grade
=Average mark for tasks 2.166
1-1.5 Pass
1.6-2.5 Merit Overall grade
Merit
2.6-3 Distinction (see conversion chart)

4 Accreditation of prior learning/achievement
Some students may have previously followed a programme with a similar assessment regime, albeit
at a lower level. It may be that previous work, especially research or ‘finding out about’ type tasks,
could count, either wholly or in large part, towards the assignment work in this qualification.
The general rules for evaluating evidence (VACS) must still be observed, there is an obvious link
between what was produced earlier and the evidence required in this scheme (validity); the work
submitted is genuinely the work of that student (authenticity); it was not completed so long ago that
they would either have forgotten their learning or that legislation had been introduced or changed
in the meanwhile (currency) and that there is enough evidence to give confidence that the
requirements of the unit have been met (sufficiency).
The way in which these APL/ APA judgments have been made should be clear to the External
Verifier when sampling during visits.

5 Assessment and verification
Codes of practice
The importance of safe working practices, the demands of the Health and Safety at Work Act and
the Codes of Practice associated with the industry must always be adhered to.
Health and safety

The requirement to follow safe working practices is an integral part of all City & Guilds qualifications
and assessments, and it is the responsibility of centres to ensure that all relevant health and safety
requirements are in place before learners start practical assessments.
Should a learner fail to follow health and safety practice and procedures during an assessment, the
assessment must be stopped and the learner advised of the reasons why. The learner should be
informed that they have not reached the standard of assessment required. Learners may retake the
assessment at a later date, at the discretion of the centre. In any cases of doubt, guidance should be
sought from the external verifier.
Verification of assignments
By using marking checklists verifiers can check that evidence for an assignment is complete and can
ensure that allocation of marks has been fair and beyond dispute.
Assessors must ensure that learners understand why a particular grade has been given for the
assignment. It is for this reason that City & Guilds requires the signature of both the assessor and
the learner on the final assignment mark sheet.
If a learner’s work is selected for verification, samples of work must be made available to the
appointed external verifier. The external verifier will ensure that:
• the internal verifier is undertaking his/her responsibilities

• the internal verifier is given prompt, accurate and constructive feedback on centre
operations
• a report is written by the external verifier on centre activities for City and Guilds.
Internal quality assurance

Approved centres must have effective quality assurance systems to ensure optimum delivery and
assessment of qualifications.
Quality assurance includes initial centre approval, qualification approval and the centre’s own
internal procedures for monitoring quality. Centres are responsible for internal quality assurance,
and City & Guilds is responsible for external quality assurance.
Full details and guidance on the internal and external quality assurance requirements and
procedures, are provided in Providing City & Guilds Qualifications. This document also explains the
tasks, activities and responsibilities of quality assurance staff.
In order to fully support learners, centres are required to retain copies of learners’ assessment
records for three years after certification.

Centres are also free to design their own assignments, if they feel their suggestions better reflect
local needs, and are encouraged to be as creative and inventive as possible, particularly with the
research or ‘finding out’ component. These locally-devised proposals should fulfill the same general
assessment purpose as the City & Guilds set assignments, should use the same marking and grading
criteria, and should be agreed by City & Guilds and the External Verifier before use, and sampled by
the External Verifier before the assessments are claimed.
Entry for assessment and certification

Learners should be registered via the Walled Garden or using Form S at least 28 days before any
assessment. Entries for the online multiple choice test should be made via the Walled Garden or
using Form S as per the instructions laid down in the City & Guilds Directory of Vocational Awards.
Results of assignments should be submitted in the form of grades via the Walled Garden or by using
Form S. Only those components which have been achieved should be included. Each component
number is entered, followed by P (Pass), M (Merit) or D (Distinction) to indicate the grade the learner
has achieved.

6 Guidance for learners
The assignments will ask you to perform a combination of tasks. These will typically be that:
• they require you to demonstrate your subject knowledge

• they require you to demonstrate your practical skills
• they require you to demonstrate the occupational skills you have acquired.
The assignments are an assessment, but they are also there to support your learning.
All the tasks are graded and you can be awarded a Pass, a Merit or a Distinction grade, depending
on how well you perform. To complete the assignment work for a unit successfully you need to
achieve at least a Pass grade in all the tasks.
Timings
There is no particular time limit set for the completion of this assignment. Your tutor will guide you
however on the maximum time you should allow in order to be sure of completing all of the required
assignments within the time available for the course. The timescale for the completion of
assignments will be negotiated between you and your tutor. However, the results of your failure to
submit on time, without a valid reason, are that you may fail the assignment or cannot obtain better
than a pass grade.
You may discuss your work with your tutor to get feedback on whether the accuracy and amount of
work you have done will earn you a pass or better. However, you will also need to meet the centre’s
timescales for submitting your work. The extent of help and support sought from your tutor may
make it difficult for you to get a higher final grade, as this may be part of the grading criteria.
Presentation of work
Prepare a front cover and contents page for your assignment and try to present your work in a clear
and logical sequence.
You are encouraged to word process your responses (and other simple application programmes
where they are accessible) as this will help to generate valuable key skills evidence: this is not a
requirement or essential however.
For research and report tasks you may wish to refer to books, information given to you by your tutor
or you may wish to research the internet. If you do this, remember to include a reference to show
where the information came from. You must also provide the answers in your own words – your
assessor obviously knows the way you normally express yourself so they will be able to tell if you
have simply downloaded material or copied it directly from a textbook.
You may also wish to include any relevant charts, pictures and leaflets you have collected. Use
colours, symbols and diagrams, where you think they will help to illustrate your answers.
Your tutor will guide you if there is any part of this assignment that you do not understand.

7 Assignments
City & Guilds Assignment title

unit number
Unit 201 Employment opportunities, roles and responsibilities in music and sound industries
Unit 202 Studio routing and wiring for music and sound industries
Unit 203 Mixing and recording consoles
Unit 204 Microphones and direct inject (DI) techniques
Unit 205 Equalisation for music and sound industries
Unit 206 Dynamics and effects equipment for music and sound industries
Unit 207 Music instrument digital interface (MIDI)
Unit 208 Sampling and synthesis technology for music and sound industries
Unit 209 Acoustics and monitoring for music and sound industries
Unit 210 Development of studio recording equipment
Unit 211 Audio analysis for sound engineers
Unit 212 Session management for sound engineers
Unit 213 Music technology for hardware and software
Unit 214 Composing with MIDI-based music technology
Unit 215 MIDI operations
Unit 216 Studio sound synchronisation (film clips)
Unit 217 Studio sound synchronisation (computer games)
Unit 218 Web-based sound and music technology
Unit 219 Acoustics and sound reinforcement systems
Unit 220 DJ technology and sound equipment
Unit 221 Soldering and wiring for music and sound industries (maintenance)
Unit 222 Audio electronics for music and sound industries (maintenance)

Assignment 201 Employment opportunities, roles and
responsibilities in the music sectors
Assignment composition
This assignment is based on Unit 201 of the Level 2 in Sound Engineering and Music Technology. It is
made up of the following learning outcomes and Tasks.
Learning outcome Task Evidence

1. Outline creative roles in Task A Table
the creative music sectors PS 1.1
UK 1.1
2. Explain the creative roles Task B Description
PS 2.2
UK 2.2, 2.3
3. Outline creative Task C Report, CV, covering letter,
occupations and related PS 3.1, 3.2 show reel and description
job opportunities in the UK 3.1, 3.2
creative music sectors
Key
PS = Practical unit skills
UK = Underpinning knowledge unit skills
A form for giving feedback to learners – the Learner feedback sheet – is included with this
assignment.
The range provided relates to organisations and processes in England and Wales. Centres operating
under other systems may substitute appropriate ranges. These should be verified by the centre’s
external verifier.

Tasks
Task A Create a table
Learners are required to research common technical and creative roles within their local creative
music sectors. Learners should create a table with the following headings:
• Job role/title
• Brief description
• Music sectors they relate to
The table should show a description of the following job roles and list the music sectors they relate
to:
• Record producers
• Recording and mix engineers
• Broadcast and live sound engineers
• Songwriters
• Re-mixers and studio programmers
• A&R (artist and development roles)
• Technical research and development (R&D)
Task B Describe combining job roles
Learners are required to identify one of the above job roles and describe how their jobs could
combine with another job role, to include a brief explanation of the benefits of being multi-skilled
(approximately 200-500 words).
Examples of other job roles:
• Producer
• Writer
• Recording engineer
• Mix engineer
• Re-mixer
• DJ
• Performer
• Programmer
• Arranger
• A&R
• AV technician
• Lighting technician
• Live sound engineer

Task C Produce a brief report, CV, covering letter, audio show reel
and description
Learners are required to identify a creative occupation and related local or national job
opportunities within the music and sound industries. Learners should complete a brief report to
include the following:
• Employment/career opportunities
• Relevant types of companies
• Where jobs are advertised
Learners are required to use one job advertisement as identified above and prepare to apply for it
by producing the following:
• CV
• Covering letter
• Audio show reel (this can be material from other assignments)
Learners should describe the skills required for an interview by creating a table with the following
headings:
• Technical skills
• Communication
• Dress codes
• Skills still requiring further training

Assignment 201 Employment opportunities, roles and responsibilities in the music sectors
Marking criteria
Learner name: Tutor/Assessor signature: Date:

Task Pass Merit Distinction
A The learner has: The learner has achieved The learner has achieved everything at pass and
everything at pass grade and has: Merit grade and has:
demonstrated understanding of demonstrated sound demonstrated excellent understanding of the task with
the requirements and produced understanding of the task and evidence of analysis and evaluation
the minimum evidence required provided clear and relevant
evidence critically evaluated a wide range of sources/resources
provided evidence which which are clearly referenced
demonstrates knowledge produced the task well and in an
relevant to the finished tasks organised and logical sequence provided detailed evidence which demonstrates a
good breadth and depth of knowledge that has been
demonstrated evidence of used to good effect in the task
analysing research information
presented the task to a high level
completed the task with minimal
assistance provided evidence of creative and original thoughts
worked independently throughout

Marking criteria

B The learner has: The learner has achieved The learner has achieved everything at pass and

Marking criteria

C The learner has: The learner has achieved The learner has achieved everything at pass and

Examples of work submitted by Examples of work submitted by a Examples of work submitted by a distinction learner.
a pass learner merit learner.
A Provided information showing Provided up-to-date information Provided up-to-date information showing detailed research
research and described relevant showing detailed research. from a wide variety of sources/resources that are clearly
roles. Identified sectors to match referenced.
roles. Researched and outlined the
duties of the creative roles.
B Learners have identified a creative Research evidence is from a wide Description demonstrates a breadth and depth of
role with evidence of how this role range of sources. knowledge.
can be linked to another, including
a basic description of the
advantages of multitasking.
C Learners have created a covering Detailed description of job interview Learners have created a concise covering letter and up
letter and CV. Provided a basic skills. Learners have created a concise dated CV that relates specifically to the job role. Provided
audio show reel on CD. Description cover letter and CV. broadcast quality audio show reel. In depth description of
of job interview skills. job interview skills.
All points at each grade must be evidenced in order to achieve marks for grade, ie Task A: all pass criteria met and only one from credit, would result in a pass
grade only. For Distinctions all criteria must be met for each grade.

Assignment mark sheet
Learner name Learner number
Centre name Centre number
Task Evidence Grade for Mark

task Pass (1 mark)
Merit (2 marks)
A Table
B Description
For task C please allocate the following marks:
Pass = 2 marks Merit = 4 marks Distinction = 6 marks
Report, CV, covering letter, show reel and
C
evaluation
=Total mark for all graded tasks
Conversion chart Divided by the number of graded tasks ÷4

Average Grade
=Average mark for tasks
1-1.5 Pass
All parts of the tasks must be passed to allow a grade to be claimed.
Learner signature Date
Assessor signature Date
Quality assurance co-ordinator signature (where applicable) Date
External verifier signature (where applicable) Date

Learner feedback sheet
Learner name:
Task & Assessor comments/action plan

date (The assessor should sign after each feedback session)
Tutor/Assessor signature Date

Assignment 202 Studio routing and wiring for music and
sound industries
This assignment is based on Unit 202 of the Level 2 Sound engineering and music technology. It is
made up of the following learning outcomes and tasks.

1. Examine types of Task A Floor plan and lists
connectors PS 1.1, 1.2, 2.1, 2.5
UK 1.3, 1.4, 2.1
2. Explain the requirements
for interconnection
3. Explain common uses of Task B Audio files

patchbay systems PS: 2.2, 2.3, 2.4, 3.1, 5.1
4. Carry out basic signal flow

logical fault finding
exercises
5. Explain the advantages of Task C Witness testimony
using a balanced audio PS 4.1, 4.2
interconnection UK 4.1, 4.2, 5.2
Key
UK = Underpinning Knowledge unit skills
assignment.

sound industries
Tasks
In this set of tasks, learners will be asked to audit the connector types and wiring in an 8-24 channel
studio environment, use a balanced patchbay to make test recordings and take part in exercises to
identify faulty wiring or connectors.
Task A Carry out a studio audit
Learners are required to carry out a full audit of an 8-24 channel recording studio environment. The
studio must have a patchbay.
• Create a floor plan showing equipment layout

• Next make a list of analogue and digital connector types in the studio
• Comment on the strength and durability of the connectors
• List leads used to interconnect equipment
Task B Create audio recordings
Learners are required to make copies of several recordings using a patchbay, mixing desk and
associated playback and recording devices. Four recordings should be copied from one machine to
another at an optimum quality. All recording and playback machines should be routed via the studio
patchbay.
• At least one of the sets of connections for copying should be digital and at least one set
analogue
• At least one of the copies must be achieved by using balanced audio connections
The tutor should observe the conditions above are met.
The level and quality of signal will be marked by the tutor upon completion of each recording.

Task C Troubleshoot the studio
Learners are required to trouble shoot (find faults) within the following four scenarios (as set up by
their tutor)
• Playback device wired to mixing desk, output of desk wired to 2-track recording device
• Mixing desk slate or other means of generating test tone into desk - routed to monitor
speakers
• Single input channel routed through an EQ device using an insert cable
• Microphone wired to small PA system connected to front of house speakers
Learners will be observed by the tutor who will evaluate and take notes of the following areas:
• How they carried out the continuity tests using multi-meters

• The different methods used for verifying signals in the audio chain

Assignment 202 Studio routing and wiring for music and sound industries
Marking criteria


Marking criteria


Marking criteria


Marking criteria
Examples of work submitted by a Examples of work submitted by a merit Examples of work submitted by a
pass learner learner. distinction learner.
A Created a basic diagram showing Diagram is well set out and shows Diagram shows all information in a clear way.
equipment layout with only very minor information clearly. All information is shown.
omissions. Listed all analogue and digital Lists include all connectors and leads. Account of connector types and durability
connector types with only very minor shows a breadth and depth of knowledge,
omissions. Detailed account of the strength and
durability of connectors and leads.
Commented in a basic way on strength
and durability of connectors and leads.
B At least one out of the four exercises uses Level and signal qualities are good. Level and signal qualities are at an optimum
analogue connections and at least one quality.
uses digital connections.
Balanced connections are used for at least

one setup.
Level and signal quality is without

significant problems.

C Carried out all four exercises correctly. Carried out all four exercises in reasonable Used a multi-meter and other methods of
time and with minimal assistance. tracing faults in the audio signal chain.
Faults identified correctly.
Logical fault finding procedures have enables
Tutor has observed learner: the learner to carry out all four exercises
quickly and efficiently.
• carrying out a continuity test using
a multi-meter
Fault found with no tutor intervention.
• using a different methods of
verifying a signal in the audio chain
All points at each grade must be evidenced in order to achieve marks for grade, ie Task A: all pass criteria met and only one from merit, would result in a pass
grade only. For Distinctions all criteria must be met for each grade.

sound industries

task Pass (1 mark)
Merit (2 marks)
Ai Floor plan and lists
B Audio files and witness testimony
C Witness testimony

Average Grade
1-1.5 Pass

sound industries
Learner name:


Assignment 203 Mixing and recording consoles
This assignment is based on Unit 203 of the Level 2 in Sound engineering and music technology. It is

1. Route and exit signals Task Ai Block diagram
through a mixing and PS 1.1
recording console UK 1.3
Task Aii Recording, witness testimony,

PS 1.2 channel strip diagram
UK 1.1, 1.2, 1.3
2. Examine specific features of Task B Witness testimony and brief
common mixing consoles PS 2.1 descriptions
used in the recording UK 2.1, 2.2, 2.3
industry
3. Identify the sector Task C Table
requirements for different PS 3.1
types of recording and UK 3.1, 3.2, 3.3, 3.4
mixing consoles
Key
assignment.

Tasks
Task Ai Produce a block diagram
Learners are required to produce a block diagram showing a microphone signal routed through a
channel’s direct output to a channel of a multi-track recording machine. The track is then played
back into the monitor mix section. The diagram should identify the position in the signal path of
each of the following:
Recording channel Monitor channel

Auxillary send (prefade) Aux 1 mix amp
Aux send (post fade) Aux 2 mix amp
Channel cut/mute Auxillary send (prefade)
Channel pan Aux send 2 (post fade) cut
EQ Fader
Fader Group /tape switching
Group routing & mix amp Master stereo mix amp
Mic & line amps & i/ps Master stereo fader
Mic line switching Monitor channel
Task Aii Produce a recording and channel strip diagram
Learners are required to connect and route the following mono signals through the mixing console
via the stereo buss routed or patched to a stereo master machine. Learners should record all of the
signals to a stereo mastering machine.
• D.I. box (guitars)

• Dynamic microphone - spoken word
• Condenser microphone- spoken word
• Keyboard line out/line in
• 1 kHz external source
Learners should use the block diagram (see task A above) to produce a channel strip diagram
showing the connectivity of each signal to show how the channel signal path was used to route
each signal to the master stereo buss.

Task B Describe features on a mixing console
Learners are required to individually identify the location of the main sections and features on a
mixing console supplied by the tutor. As a minimum this should include:
• Mic line amps and i/ps

• EQ
• Fader
• Channel cut/mute
• Auxillary send (prefade)
• Auxillary send (post fade)
• Master stereo fader
• Channel pan
Learners are required to provide a brief description of each feature identified.
Task C Produce a table
Learners should choose two of the following industry sectors:
• Live sound
• Broadcast
• Music studio
For each industry sector that they have picked, they should then choose a mixing console.
Learners are required to produce a table showing differences between the two consoles.

Marking criteria

Ai The learner has: The learner has achieved The learner has achieved everything at pass and

Marking criteria

Aii The learner has: The learner has achieved The learner has achieved everything at pass and

Marking criteria


Marking criteria


Marking criteria
Ai Produced block diagram correctly PASS ONLY PASS ONLY
identifying the position in the signal path
of the named features.
Aii Learners have connected and routed a All audio is recorded well and to a good All audio is recorded faultlessly to an optimum
D.I’d guitar, a dynamic microphone quality. quality.
capturing a spoken word segment, a
condenser microphone capturing a
spoken word segment, a keyboard line in
instrument and a 1kHZ external source.
Learners have recorded all these signals to

a stereo mastering machine to a
reasonable quality with minor
discrepancies.
Has presented individual channel strip

diagrams reflecting the use of the
consoles channel strip for all recorded
signals. Has stereo CDR evidence of all
stereo recordings.

B Researched and provided mapped out Description of features is detailed. Description of features shows a breadth and
diagrams showing the common sections depth of knowledge.
and features of professional split, in-line
and digital designed recording and mixing
consoles.
Presented referenced diagrams with the

clear location of the required stages.
Has produced a list of 5 manufactured

examples for each console type.
C Identified two different mixing consoles Table presented concisely reflecting console Presented detailed table that clearly shows
used within two of the named music and model and sector uses. Has used a range of use of sources of up-to-date information.
sound sectors. sources.
All main features are described.
Created a table showing basic differences
Differences between consoles show most
between consoles.
main features.
Note: All points at each grade must be evidenced in order to achieve marks for grade, ie Task A: all pass criteria met and only one from merit, would result in a
pass grade only. For Distinctions all criteria must be met for each grade.


task Pass (1 mark)
Merit (2 marks)
Ai Block diagram Not graded Pass only
Recording, witness testimony, channel strip
Aii
diagram
B Witness testimony and brief diagram
C Table

Average Grade
1-1.5 Pass

Learner name:


Assignment 204 Microphones and direct injects (DI)
techniques

1. Examine constructional Task A Report
characteristics of common PS 1.1, 1.2
types of microphone UK 1.3, 2.2
2. Use standard microphone Task B Recordings and evaluation
set up techniques PS 2.1, 3.1, 3.2 report
UK 2.1, 3.1
3. Examine the impact of
moving a microphone
relative to sound sources
4. Analyse the sounds Task C Recordings and table
produced by types of PS 4.1, 4.2, 4.3
microphone UK 4.2
5. Examine the difference in Task D Recordings and table
sound between Direct Inject PS 5.2
(DI) and microphone usage UK 5.1, 5.3
Key
assignment.

techniques
Tasks
In this set of tasks the learner will carry out a series of different evaluations involving a microphone
in different positions, and types. In each of the tasks, technical descriptions should be used (eg high
frequency, low frequency etc) to back up more subjective descriptions of sound recordings (eg
thicker sound, richer sound etc).
Task A Research and produce a report
Learners will be asked to carry out research into the way in which dynamic and condenser
microphones are constructed. They should create a brief written report in which they make a
comparison between the two types of microphone showing:
a) The way in which they are made

b) Practical implications of construction on how they sound and how they are used.
Learners should also describe in their written report the following related information:
a) How to read a frequency response chart

b) How to read a polar response diagram.
Task B Make recordings and produce a report
Learners will carry out a series of short recordings to evaluate optimum microphone placements.
Each learner will be required to pick two of the following sound sources. They will make four 30
second recordings of each sound source chosen. The four recordings must be made with the
microphone in different positions relative to the sound source.
a) Snare drum or base drum

b) Lead guitar (mic up cabinet)
c) Bass guitar (mic up cabinet)
d) Keyboard (mic up cabinet)
e) Vocal mic.
Learners should work in groups so that every scenario is recorded. They will be asked to submit
their own eight recordings but must evaluate recordings relating to all five scenarios.
NB: A different mic can be used on different scenarios if required.
Each learner will produce their own short written report including the following information:
• Differences in quality of sound from a microphone in different positions
• Implications of recording on axis, off axis, proximity effect
• The requirements for separation between microphones when setting up around sound
sources.

Task C Make recordings and produce table
Learners are required to make a comparison of the difference in sound quality between dynamic
and condenser microphones. They should each produce a series of ten test recordings showing the
difference in sound between the two types of microphone when used in the same position relative
to the instrument/voice. Five different types of sound source should be recorded which cover
frequencies across the frequency spectrum. Recordings should all be at least 30 seconds long (each
learner is to complete their own set of ten recordings)
Please note that different types of dynamic and condenser microphones may be used for the
different recordings where appropriate.
Learners should submit a table of results detailing microphone types, diagram of different positions
and subjective differences in sound between the two microphone types.
Task D Make recordings and produce table
Learners are required to make a comparison of the difference in sound quality between the use of a
DI box to record electric instruments and the use of a mic’ed –up amplifier cabinet to do the same
task. They should produce a series of six test recordings showing the difference in sound between
the two different techniques for recording electric instruments. Recordings should all be at least 30
seconds long.
The following instruments should be recorded:

• Lead electric guitar
• Bass electric guitar
• Keyboards.
Learners should submit a table of results including a diagram of the microphone positions used to
capture the sound from the instrument and commenting on the changes in sound quality between
the recordings via microphone and DI box.

Assignment 204 Microphones and direct injects (DI) techniques
Marking criteria


Marking criteria


Marking criteria


Marking criteria

D The learner has: The learner has achieved The learner has achieved everything at pass and

Marking criteria
A Produced a basic written report showing Written report is well presented and contains References show a variety of sources have
how dynamic and condenser microphones detailed information. Sources are referenced. been used to provide comprehensive breadth
are constructed and how this affects their and depth of detail about microphone
sound and use. construction.
They should also show basic information

about how to read frequency response
and polar response diagrams.
B Submitted two sets of four recordings of Mic- up audio files are well recorded. Table of results shows a comprehensive
the designated type. Compile a basic evaluation and a good depth of knowledge in
written report including differences in Table of results is well produced and contains relation to the differences between methods
sound quality when using different mic good observations about the differences of recording.
positions. between methods of recording.
Commented in a basic way on the
implications of recording on axis, off axis
on proximity effect and basic reasons for
mic separation.

C Submitted ten recordings from five Recordings show a good spread across the Table of results shows a comprehensive
different sound sources across the frequency range. evaluation and a good depth of knowledge in
frequency spectrum which are at least 30 relation to microphone types and their
seconds long. Table of results is detailed and contains associated sounds and potential applications.
detailed observations about the nature of the
Submitted a basic table of results recorded sounds, using appropriate
including microphone type, diagrams of terminology.
positions and comments on the nature of
the sounds recorded.
D Submitted six recordings of the required Table of results is detailed and contains Table of results shows a comprehensive
instruments of at least 30 seconds long. detailed observations about the nature of the evaluation and a good depth of knowledge in
recorded sounds, using appropriate relation to microphone types and their
Submitted a basic table of results terminology. associated sounds and potential applications.
including diagrams of positions of the
mic’d up cabinets and comments on the
difference between the sound of a DI box
and sound recorded using a microphone.

techniques

task Pass (1 mark)
Merit (2 marks)
A Report
For tasks B, C and D please allocate the following marks:
B Recordings and evaluation report
C Recordings and table
D Recordings and table

Average Grade
1-1.5 Pass

techniques
Learner name:


Assignment 205 Equalisation for music and sound
industries
made up of the following learning outcomes and Tasks.

1 Examine equalisation (EQ) Task A List key features
systems PS 1.1,
UK1.1, 1.2, 1. 3
2 Use equalisation sections Task B Frequency chart
on a mixing console PS 2.1
UK 2.1, 2.2, 2. 3
3 Examine effects of Task C Witness testimony,
equalisation on audio PS 3.1, 3.2, 3.3, 3.4 recordings and notes
material UK 3.1, 3.2
Key
assignment.
Centre Guidance
Task C
Centres need to produce six separate audio tracks from the list provided in task B that will require
EQ adjustment.
NB. Software should only be used to illustrate theory.

industries
Tasks
Learners will examine various professional equalisation systems in use within a wide variety of
music and sound industries. At all times learners must make use of the correct terminology.
Task A List key features
Learners are required to research into the features of professional equalisation systems and list the
key features of the following systems:
• Graphic equalisers
• Parametric equalisers
• Shelving and notch filters
Task B Produce a frequency chart
Learners are required to research and produce a frequency reference chart highlighting the
common frequency/EQ ranges of recorded signals. Learners frequency/EQ charts should reflect
broad and reasonable frequency values that apply to following signals in most instances:
• Kick drum
• Snare drum
• Hi-hat/cymbals
• Rack toms
• Floor toms
• Bass guitar
• Electric guitar
• Acoustic guitar
• Electric organ
• Acoustic piano
• Horns
• Strings
• Percussive drums
• Vocals/spoken word performance
Learners can, if they so wish, also provide additions to the above recorded signal chart with
inclusion of other less common ethnic and world instrumentation.

Task C Demonstrate EQ techniques
Learners are required to make use of EQ to demonstrate EQ techniques. Learners should:
a. Choose a minimum of six of the above stated audio signals (refer to the list in task B on
previous page). Centres/tutors will supply learners with six corresponding audio tracks.
b. Record these results via the mixing console to a stereo mastering machine.
c. Provide a 30 second recording of the audio signal untreated, followed by the EQ’d version for
each of the six audio signals. Learners should therefore present twelve recordings, six of
which should reflect reasonable use of both cut and boosted EQ frequencies.
d. Keep a record of parameters adjusted in each case.

Assignment 205 Equalisation for music and sound industries
Marking criteria


Marking criteria


Marking criteria


Marking criteria

D The learner has: The learner has achieved The learner has achieved everything at pass and

Marking criteria
Examples of work submitted by Examples of work submitted by a Examples of work submitted by a distinction learner
a pass learner merit learner
A Learners have produced a basic Produced list coving most main Produced an exhaustive list of features.
list. features.
B Researched and provided basic Diagram/s are detailed and well Diagrams show information accurately and are presented
diagram/s showing the common produced. excellently.
frequency ranges for audio signals
with reasonable tolerances.
C Learners have recorded 12 audio Most audio signals show reasonable All audio signals show good use of equalisation.
signals, six of which reflect use of equalisation.
subtractive/additive equalisation
techniques. A basic record has
been kept to include all parameters
adjusted.

industries

task Pass (1 mark)
Merit (2 marks)
A Research report
B Frequency chart
For task C, please allocate the following marks:
C Witness testimony, recordings and notes

Average Grade
1-1.5 Pass

industries
Learner name:


Assignment 206 Dynamics and effects equipment for

1. Examine the parameters of Task A Witness testimony, reflective
common dynamics PS 1.1, 1.2, 3.1, 3.2, log and audio recordings
processing units UK 1.1, 1.2, 1.3, 1.4, 3.1, 3.2,
3.3, 3.4
2. Examine the parameters of
common effects units
3. Connect and route signals Task B Witness testimony, reflective
through dynamics PS 1.1, 1.2, 4.1 , 4.2 log and audio recordings
processors via mixing UK 1.1, 1.2, 1.3, 1.4, 1.5, 1.6,
consoles 4.1, 4.2, 4.3, 4.4
4. Connect and route effects

units via mixing consoles
Key
assignment.

Assignment 206 Dynamics and effects equipment for music
and sound industries
Tasks
In this task learners will investigate and operate various dynamics and effects units used within a
wide variety of music and sound industries, to include their common parameters and key functions.
Learners must make use of the correct terminology at all times.
Task A Use dynamics units to produce audio recordings
Learners are required to connect a compressor, limiter and noise gate unit to the insert points of a
channel of the recording console. Learners are then required to make their own spoken word
recording (30 -60 seconds), without EQ or effects. They should read a passage from a newspaper
article and make use of this audio source for the following tasks:
• Compress the spoken word recording and record the processed result
• Limit the spoken word recording and record the processed result
• Noise gate the spoken word recording and record the processed result
All recordings including the original, unaffected version need to be submitted.
Learners should keep a diary or reflective log to include diagrams where appropriate. They should
note down all settings allocated for the vocal recordings for each dynamics unit and explain how
and why they chose to compress, limit and noise gate the audio source they have processed.
Explain how they interfaced with recording and mixing consoles and state the type of cables and
connections that have been used.

Task B Use effects unit to produce audio recordings
Learners are required to connect a multi-effects unit to the auxiliary master bus(ses) of the
recording console. An auxillary send/return loop must be used.
Learners are required to make use of their spoken word recording previously recorded in task B
above. Learners will need to have routed their audio ident to a channel in all instances to carry out
the following:
• Apply a 250 millisecond delay and record

• Apply a small room reverb and record
• Apply a large room reverb and record
• Apply a chorus and record
• Apply a flange effect at a slow modulating speed and record
• Apply a phase effect with a slow speed and gradually increase whilst recording.
Learners should keep a reflective log to include diagrams where appropriate. They should note
down all settings allocated for each effect unit for adding the above effects to their vocal recording.
Learners should state how effects units interface with recording and mixing consoles and state the
type of cables and connections that have been used.

Assignment 206 Dynamics and effects equipment for music and sound industries
Marking criteria

A The learner needs to have: The learner needs to achieve The learner needs to achieve everything at pass
everything at pass grade and: and merit grade and:
Demonstrated understanding of Demonstrated sound Demonstrated excellent understanding of the

the requirements and produced understanding of the task and task with evidence of analysis and evaluation
evidence Critically evaluated a wide range of
sources/resources which are clearly referenced
Provided evidence which Produced the task well and in an
demonstrates knowledge organised and logical sequence Provided detailed evidence which
relevant to the finished tasks demonstrates a good breadth and depth of
Demonstrated evidence of knowledge that has been used to good effect in
analysing research information the task
Completed the task with minimal Presented the task to a high level
assistance
Provided evidence of creative and original
thoughts
Worked independently throughout

Assignment 206 Dynamics and effects equipment for music and sound industries
Marking criteria

B The learner needs to have: The learner needs to achieve The learner needs to achieve everything at pass

assistance
thoughts

Examples of work submitted by a Examples of work submitted by a Examples of work submitted by a distinction
pass learner merit learner learner
A Learners have made their own vocal The audio recordings have been treated The audio recordings have been treated with
recording and submitted a dry with appropriate use of optimum use of settings/parameters.
recording. Learners have applied the settings/parameters.
required processing and made three The reflective log shows a breadth and depth of
audio recordings of the results. The reflective log contains detailed knowledge.
information.
Learners have kept a basic reflective
log with diagrams covering the
required information. Learners have
shown use of correct terminology.
Reset and tidied environment. The
stereo evidence should be clearly titled
for easy reference.
B Learners have the recorded eight The audio recordings have been The audio recordings have been adjusted with all
audio signals with the required effects adjusted with most settings set settings set correctly.
using their own vocal recording. correctly.
The reflective log shows a breadth and depth of
Learners have kept a basic reflective The reflective log contains detailed knowledge.
log with diagrams covering the information.
required information.
Note: All points at each grade must be evidenced in order to achieve marks for grade, ie Task A: all pass criteria met and only one from merit, would result in

Assignment Mark sheet

task Pass (1 mark)
Merit (2 marks)
Witness testimony, reflective log and audio
A
recordings
Witness testimony, reflective log and audio
B
recordings

Average Grade
1-1.5 Pass

Learner name:


Assignment 207 Music instrument digital interface (MIDI)

1 Describe the way in which Task A Report
the MIDI language works UK 1.1, 1.2, 1.3, 1.5
Task B Diagram
UK 1.4)
2 Save and archive MIDI files Task C MIDI files, audio files and
of different formats PS 2.1, 3.1, 4.1, 4.2 log/diary
UK 2.1, 2.2, 3.1, 4.1, 4.2, 4.3
3 Connect and configure
MIDI equipment
4 Create a series of short

MIDI sequences
Key
assignment.

Tasks
Task A Research and produce a brief report
Learners are required to create a brief report in three sections showing:
• How control voltage systems work

• How MIDI systems work
• Why extensions to General MIDI have been developed.
Each section should be approximately 200 words.
Task B Produce a diagram
Learners should create a diagram showing the following different types of MIDI message with brief
notes giving examples of their use in each case:
• Channel voice message

• Channel mode message
• System common message
• System real-time message
• System exclusive message.

Task C Produce MIDI files, audio files and a log/diary
Learners are required to produce one of the following:
a) Three short MIDI based pieces, each being between 1-2 minutes long
b) One MIDI piece between 3-4 minutes long.
The piece/s should include at least six different MIDI tracks with different sound sources on each
track. No audio files may be included in the three MIDI based pieces.
Learners should keep a reflective log/diary of the processes they are using, to include the following:
• How MIDI equipment is connected and configured (diagram and notes)
• Which editing and controller parameters were adjusted
• Which musical parameters were adjusted and how
• What range of file-save formats were available
• How files were securely saved and archived
• The advantages and disadvantages of using different file-save formats.
At least one of the files should be saved as a general MIDI file format (Type 1) and at least one as a
sequencer file native to the sequencer software package being used.
A good balance of volume between tracks must be achieved before submission.

All pieces should be submitted as both MIDI, general MIDI and as stereo .wav audio files.
Note: Centres can set briefs to contextualise the MIDI sequences if they wish. MIDI may be used to
create soundscapes as well as musical pieces.

Marking criteria


demonstrates knowledge organised and logical sequence Provided detailed evidence which demonstrates
relevant to the finished tasks a good breadth and depth of knowledge that has
Demonstrated evidence of been used to good effect in the task
Presented the task to a high level
Completed the task with minimal
assistance Provided evidence of creative and original
thoughts

Marking criteria


thoughts

Marking criteria

C The learner needs to have: The learner needs to achieve The learner needs to achieve everything at pass

thoughts

Examples of work submitted by a pass Examples of work submitted by a Examples of work submitted by a
learner merit learner. distinction learner.
A The report created showing features of MIDI Report shows detailed information in Report shows excellent breadth of
and CV systems. most areas. Information is neatly understanding of the differences between
represented. MIDI and CV control systems.
A brief evaluation is given of the reasons why
General MIDI was developed to augment the Evaluations are detailed. Evaluations include further developments and
original specification. show a breadth of knowledge of reasons
behind extensions to the MIDI protocol.
B Diagram shows at least one basic example of Diagram shows more than one example Diagram shows extensive knowledge of the
each required message type. with well presented annotated different types of MIDI message. Information
notes/explanations is excellently presented.
C Files have been saved as required. A basic Tracks contain more than six parts and Tracks are professionally balanced in all
balance of audio has been achieved with only are well balanced, with only minor respects. Reflective log shows excellent
minor over or under balancing. Reflective log exceptions. Reflective log shows breadth of information in all areas and is
has been kept. detailed information in most areas and is extremely well presented.
well presented in most areas.
Note: All points at each grade must be evidenced in order to achieve marks for grade, ie Task A: all pass criteria met and only one from merit, would result in
pass grade only. For Distinctions all criteria must be met for each grade

Assignment 207 Music instrument
digital interface (MIDI)

task Pass (1 mark)
Merit (2 marks)
A Report
B Diagram
C MIDI files, audio files and log/diary

Average Grade
1-1.5 Pass

Assignment 207 Music instrument
digital interface (MIDI)
Learner name:


Assignment 208 Sampling and synthesis technology for
made up of the following Learning outcomes and tasks.

1.Operate synthesisers Task A Two tables
PS 1.1, 2.1
2.Describe the sound UK 1.1, 1.2, 1.3, 2.1
characteristics of a range
of synthesis types
3.Operate samplers Task B Sampler program file
PS 3.1
UK 3.1, 3.2
4.Use samplers and synthesis Task C Audio file, MIDI sequencer
with MIDI sequencers PS 4.1, 4.2, 4.3, 4.4 file, diagram and notes
UK 4.1, 4.2, 4.3
Key
assignment.

Tasks
Task A Create two tables
In this task, learners are required to research different types of synthesis, make a practical study of
the controls of a subtractive synthesiser (software or hardware) and to investigate the sounds and
general methods of control of other specified methods of synthesis.
Learners are required to produce a table describing the controls found on a software or hardware
based subtractive synthesiser and note down a brief explanation of their functions.
Learners are required to listen carefully to examples of each of the following types of synthesis and
create a second table, describing the audio qualities of the synthesis sounds:
• Additive
• FM
• Phase distortion
• Wavetable synthesis
• Granular synthesis
• Sample and synthesis
• Physical modelling.
Task B Operate a sampler
In this task, learners are required to make a basic exploration of a software or hardware based
sampler by loading up five different samples and assigning them to keygroups over a MIDI
keyboard.
a) Load or record-in to the sampler a piece of audio which is not previously trimmed in terms
of start and end points etc. This audio should be a one-shot sample and will not loop.
b) Set the start and end points to suitable values.
c) Execute the function to trim unwanted materials if possible.
d) Normalise the volume.
e) Repeat the above steps with three more samples so that you have four samples in total.
f) Using key groups, lay out three of the four single samples over three different octave ranges
on a MIDI keyboard.
g) Adjust the root notes of each of the samples so that they play back at the original pitch
somewhere in the middle of their octave-wide keygroup.
h) Set the original samples’ velocity range to 0-80 Pick one of the three keygroups and import
the fourth sample into a new velocity range of 81-127.
i) Load a new rhythm based sample of at least 4-bars long with an easily identifiable loop start
and end point.
j) Place this sample with its root note at the centre of a new octave-wide keygroup.
k) Turn on looping mode for the sample and set loop points so that the sample loops when a
key is pressed down.

l) Make sure all the samples are archived into the same location/folder and then save the
sample set into the same folder for submission.
Task C Make a piece of MIDI based sound/music using

synthesisers and samplers
In this task learners are required to create a piece of MIDI based sound/music which is between one
and two minutes long. The piece must only use MIDI tracks on a computer sequencer and will use at
least one synthesiser and one sampler. Learners must also use at least one software and one
hardware device so that they can make a comparison between hardware and software devices for
the purposes of editing sounds and saving patches.
The piece of sound/music should include a minimum of three MIDI parts controlling the synthesiser
and three MIDI parts controlling the sampler.
The piece must be recorded as an audio recording containing all of the tracks and should be
recorded as a 44.1kHz 16bit stereo interleaved .wav file.
After completion of the piece the learner should provide the following materials:
• Diagram of the MIDI setup including all audio and MIDI routing
• Description of the advantages and disadvantages of using hardware based and software
based synthesisers
• Description of the advantages and disadvantages of hardware based and software based
samplers.

Assignment 208 Sampling and synthesis technology for music and sound industries
Marking criteria


assistance
thoughts

Marking criteria


assistance
thoughts

Marking criteria


assistance
thoughts

Examples of work submitted Examples of work submitted by a merit Examples of work submitted by a distinction
by a pass learner learner. learner.
A Created a table making a basic Table shows a good level of detail, covers all Table shows a depth and breadth of knowledge. The
description of the function of a common controls and is neatly presented. A evaluation includes the uses to which they are
majority of the controls found on good level of technical vocabulary is used. commonly put. An excellent level of technical
a subtractive synthesiser and vocabulary is used.
describing the audio qualities of
the synthesis types using at least
some technical vocabulary.
B Sampler program file contains all All samples are well trimmed and normalised Loop point is seamless and perfectly in time.
samples laid out in the required and the loop point is seamless.
configuration.
C Submitted audio file of between 1 Diagram is neatly presented. Descriptions show a full depth and breadth of
and 2 minutes. Basic diagram of knowledge.
audio/MIDI routing. Basic Descriptions show a good level of detail.
description of the advantages and
disadvantages of using hardware
based and software based
synthesisers and samplers.


task Pass (1 mark)
Merit (2 marks)
A Two tables
For tasks B and C please allocate the following marks:
B Sampler programme file
Audio file, MIDI sequencer file, diagram and
C
notes

Average Grade
1-1.5 Pass

Learner name:


Assignment 209 Acoustics and monitoring for music and
sound

1. Examine studio monitoring Task A Diagram and descriptions
systems PS 1.1
UK 1.1, 1.2, 1.3
2. Research studio control- Task B Definitions and example/s
room designs PS 2.1, 2.2
UK 2.1, 2.2
3. Examine the relationship Task C Graph, notes and evaluation
between acoustics and PS 3.1
studio monitoring UK 3.1, 3.2
4. Use aural skills in analysing Task D Witness testimony, notes and
monitoring and acoustics PS 4.1, 4.2, 4.3 CD
UK 4.1, 4.2, 4.3
Key
assignment.
Centre guidance:
Task C
Centres are required to provide a CD (supplied by City & Guilds) to learners with the specified test
tones recorded on it. Centres must covert the .wav file data and burn them onto an audio CD for
each learner.
Health and Safety Notice – supervisor/tutor must be aware of sound pressure levels at all times.
The practical actions can be done by the tutor or by the learners; however learners must individually
take meter readings and notes in order to produce their graphs.
Task D
Centres are required to provide a CD to learners with twelve 20 second clips of stereo and mono
audio material.

sound
Tasks
In the following tasks, learners are required to investigate and use professional studio monitoring
systems and demonstrate a basic understanding of acoustics and critical listening environments
and studio designs. At all times learners must make use of the correct terminology.
Task A Provide diagram and descriptions
a) Learners are required to produce an annotated diagram showing the sound coverage of the
following types of monitor in a medium sized room:
• Nearfield monitors
• Mid-field monitors
• Far field monitors.
b) Learners are required to describe the difference between the following systems:
• Passive monitors
• Active monitors
• Two way (bi-amping) systems
• Three way (tri-amping) systems.

Task B Provide definitions and an example
Learners are required to create a table giving brief definitions of the following terms and providing
at least one example of how they apply to studio control room monitoring environments:
• Standing waves
• Elimination of echoes
• Resonance
• Vibration
• Echo
• Reflections
• Delays
• Reverberation time (rt60)
• Materials and absorption co-efficient value charts
• Live and dead areas
• Sound velocity
• Sound waves
• Frequency
• Wavelengths and amplitude
• Noise leakage
• Structural problems
• Damping
• Absorption
• Sound diffusion
• Front wall
• Flat frequency response
• Monitoring.
Task C Produce a graph and evaluation
A microphone should be set up in the sweet spot between the monitor speakers in a studio control
room. The tutor will provide a CD containing the following test tones:
• 60Hz sine tone (30 seconds)

• 1kHz sine tone (30 seconds)
• 5.1kHz sine tone (30 seconds)
• 9.5kHz sine tone (30 seconds)
• 15kHz sine tone (30 seconds).
The microphone should be plugged into a level metering device and the 1kHz test tone played back
to set the speaker levels to a comfortable volume. This level must remain unchanged for the
duration of the tests. Whilst playing the 1kHz tone the microphone input should then be adjusted so
that the metering system registers exactly -6vu or equivalent. This level must remain at this setting
throughout the first part of the test.
a) Learners are required to note down the level of the signals on the level-metering device as
each test tone is played back from the CD.

The microphone should then be moved as far back to the rear studio wall as possible, whilst
remaining on the set axis and without altering the level of the speakers. Recalibrate the
microphone to -6vu (or equivalent) using the 1 kHz test tone.
b) Learners are required to repeat the level measurements of all test tones.
c) Learners are required to individually create a graph with each set of results plotted in
different colours and labelled clearly.
d) Learners are required to analyse their graphs and provide a brief evaluation of the
relationship between acoustics and monitoring. This evaluation should also refer to the
effect that moving the ‘listening position’ would have upon listening to music.
Task D
The tutor will provide a CD containing a random selection of twelve 20 second clips of stereo and
mono audio material. Learners are required to use a good quality near-field monitoring system
(without headphones) to correctly identify and note down the signals. Learners should identify
whether the signals are in mono or in stereo.

Assignment 209 Acoustics and monitoring for music and sound
Marking criteria


assistance
thoughts

Marking criteria


assistance
thoughts

Marking criteria


assistance
thoughts

Marking criteria

D The learner needs to have: The learner needs to achieve The learner needs to achieve everything at pass

assistance
thoughts

A Basic diagram and descriptions of Diagram and descriptions are detailed. Diagram and descriptions show good breadth and
amplification systems are provided. depth of knowledge.
B Basic definitions have been provided Definitions make detailed links with the Definitions show a breadth and depth of knowledge.
with some attempt to relate them to studio control room environments.
the studio control room environment. All definitions are in learners own words.
Most definitions are in learners own
Some definitions have been taken from words.
third party sources (eg the internet).
C Learners have provided basic links Links between results and potential Links between results and potential listening
between results and potential listening listening applications are detailed and applications show a breadth and depth of knowledge.
implications. contain good use of technical language.
D Learners have used the monitoring PASS ONLY PASS ONLY
system to correctly identify at least ten
stereo and mono signals.

sound

task Pass (1 mark)
Merit (2 marks)
A Table and descriptions
B Definitions and example/s

For task C please allocate the following marks:
C Graph notes and evaluation
D Witness testimony, notes and CD Not graded Pass only

Average Grade
1-1.5 Pass

sound
Learner name:


Assignment 210 Development of studio recording
equipment

1. Outline the development Task A Timeline and bibliography
of studio recording PS 1.1
equipment UK 1.1
2. Examine the impact of Task B Report
commercial trends on the PS 2.1
development of recording UK 2.1, 2.2
equipment
3. Explain industry standard Task C Table
brands of recording PS 3.1, 3.2
equipment UK 3.1, 3.2
Key
assignment.

equipment
Tasks
Task A Create a timeline
Learners are required to map out stages of equipment development with by creating a timeline to
include dates and events. Learners should submit a bibliography of the sources and resources used.
As a minimum, learners should include the following types of equipment on their timeline:
• Microphones
• Audio recording devices
• Recording consoles
• Dynamics processors
• Effects processors.
Task B Research and produce a report
Learners are required to research and produce a report (approximately 500 words) on the key
trends that have had a major creative impact on the development of recording equipment and
mainstream working practices.
Learners should focus on the following recording developments:
• Mono recording/mono playback mediums.

• Stereo recording/stereo playback mediums.
• Multi-track recording (2-24 tracks).
• Tape-less recording.
As a part of their report, learners should consider the influence of at least six key people or
organisations (eg studios such as Abbey Road, Townhouse, etc or producers such as John Leckie).

Task C Fill in table
Learners are required to fill in the below table (or equivalent) describing the manufacturers
associated with recording and sound equipment.
Learners are required to choose two manufacturer’s for each of the following:
• Microphones
• Recording and mixing consoles
• Dedicated multi-track recorders
• Musical instruments
• Monitors
• Daws
• Dynamics units
• Effects units.
Equipment Cost
Brand/model/manufacturer Analogue/digital Connectivity
Type (rrp) £
(Example)
Shure SM58 Analogue XLR (male) £90
Microphone

Assignment 210 Development of studio recording equipment
Marking criteria


assistance
thoughts

Marking criteria


assistance
thoughts

Marking criteria


assistance
thoughts

A Learners have produced a timeline of Learners have identified at least ten Learners have identified more than ten relevant
dates and events (at least eight relevant events. Sources and resources events. A wide range of sources and resources have
relevant events). Limited sources and are clearly referenced. been used.
resources used.
B Learners have produced a basic A detailed research report has been Research report shows breadth and depth of
research report on the key produced. knowledge.
developments listed.
Learners have provided a detailed
Learners have provided a basic description of the influence of key people
description of the influence of key and/or organisations.
people and/or organisations.
C Learners completed the table with two PASS ONLY PASS ONLY
manufacturers for each of the listed
pieces of equipment.

equipment

task Pass (1 mark)
Merit (2 marks)
A Timeline and bibliography
B Report
C Table Not graded Pass only

Average Grade
1-1.5 Pass

equipment
Learner name:


Assignment 211 Audio analysis for sound engineers

1. Examine music and Task A Report
production components PS 1.1, 1.2, 1.3
UK 1.1, 1.2, 1.3, 1.4
2.Identify problems in Task B List, descriptions
recorded material PS 2.1, 2.2, 2.3
UK 2.1
3.Repair or eliminate audio Task C Table
problems PS 3.1
UK 3.1, 3.2
Task D Witness testimony, edited

PS 3.1 audio files x 4
Key
assignment.
Centre guidance
Task B
Centres will need to use one stereo audio track from the CD provided by City and Guilds. Centres
must covert the .wav file data and burn them onto an audio CD for each learner.
Task D
Centres will need to produce four stereo audio tracks which require fade in and fade outs to mask
problems at the start and the end of the tracks. Centres should make the original track available to
external verifiers for comparison.

Tasks
Learners are required to carefully analyse pre-recorded music and make comparative notes. The
aim of this assignment is to enable learners to gain an insight into the value of listening and
analysing differing forms of recording and production techniques. Learners should be able to
identify instrumentation, production and recording techniques and be able to discuss them in a
more informed and detailed manner. Learners will also identify basic audio problems and ways to
eliminate or repair problems professionally.
NB. Learners must ensure they do not use mp3 files in any task.
Task A Analyse audio tracks
Learners are required to analyse the basic characteristics of three tracks. Each track must be from a
different grouping from the following list:
• Pop/Rock
• Urban/R and B/Hip Hop
• Classical/Jazz
• Indie/Alternative/Metal
• Electro/Electronica/Dance
• Reggae/Dub
• Folk/Blues/World Music
NB. Do not pick more than one track from the same bullet point.
Learners are required to produce a report on the recording and production techniques used in the
three tracks. The report should identify recording techniques used and the instrumentation used for
each track.
Learners are also required to identify the following attributes for one of the three tracks:
• Time signatures
• Dynamic content
• Tempo
• Root key note.

Task B Highlight and describe problems
Learners are required to identify and precisely locate (in minutes and seconds) problems with audio
content.
Centres should provide learners with a stereo track with a selection of the following problems to be
identified:
• Drop outs
• Clicks
• Glitches
• Distortion
• Noise
• Level differences
• Crosstalk
• Bad starts
• Bad ends
• Mono vs stereo imaging
Learners should highlight the precise problem areas with a brief written description on each
problem identified.
NB. Learners should review and observe audio content through the use of professional studio
monitoring (near & far fields), professional headphones with selection of stereo/mono switching and
left/right speaker cut/mutes. Learners should carefully listen, cue, monitor, check and specify
problematic areas as part of the identification/analysis process.
Task C Fill in table
Learners are required to suggest repair solutions for the audio problems they have identified in task
B above.
Learners should create a table/chart with the following headings:
Title/track name Timecode/Location Problem Suggested solution

(if any)

Task D Edit audio files
Learners are required to produce appropriate volume fade in/ fade out at the start and end of four
tracks supplied by the centre.
Each of the tracks requires fade in/fade outs due to problems at the start/end of the tracks.
Learners are required to save and back-up the repaired stereo audio as evidence.

Marking criteria


assistance
thoughts

Marking criteria


assistance
thoughts

Marking criteria


assistance
thoughts

Marking criteria


assistance
thoughts

A Learners have produced a basic report Analysis is detailed and has identified all Analysis shows depth and breadth of knowledge of
analysing three tracks from different obvious recording techniques. recording and production techniques.
genres. Learners have identified basic
recording and production techniques
used. Learners have identified musical
attributes for one piece of music.
Learners have used professional
monitoring equipment to complete
task.
B Learners have located the majority of All problems have been located and a Written descriptions of problems show depth and
problems with the audio track. A basic detailed description provided for each. breadth of knowledge.
written description of most problems
has been provided. Learners have
used professional monitoring
equipment to complete task.
C Table has been produced showing the All possible solutions have been correctly Solutions demonstrate depth and breadth of
majority of problems and solutions. identified for problems knowledge
D Learners have carried out fade in/fade All audio problems have been masked by Fade in/ fade outs edits have been achieved that
outs edits which have been achieved at fade in/fade outs. compliment the audio content.
a basic level masking most of the audio
problems.


task Pass (1 mark)
Merit (2 marks)
A Report
C Table
For tasks B and D, please use the following marks:
B List and descriptions
D Witness testimony, edited audio files x 4

Average Grade
1-1.5 Pass

Learner name:


Assignment 212 Session management for sound engineers

1. Plan for session Task A Photocopies/scans and report
management and archiving PS 2.1, 2.2, 2.3,
UK 2.1, 2.2
2. Implement procedures for Task B Witness testimony
fault management PS 3.1, 3.2,
reporting UK 3.1, 3.2
3. Use archived material to

recall 24 track recording
sessions
4. Use archived material to Task C Recording
recall 24 track recording PS 4.1, 4.2, 4.3
sessions UK 4.1, 4.2
Key
assignment.
Centre guidance
Task B
Centres should create a filled in multi-track session recall sheet from a live multi-track project. The
project will be made available to learners to recall all values as part of this assignment.

Tasks
Task A Fault find and produce a report
Learners are required to report two items of faulty equipment within a recording studio control
room. Centres will provide and identify two different types of faulty equipment. Centres will also
provide a studio maintenance book.
Learners will complete full fault reporting procedures regarding the faulty item(s) that have been
identified and safely remove items or provide a clear “do not use” notice to others. Learners will
record the process in the studio maintenance book and photocopy/scan the details recorded.
Learners should provide a brief report detailing the studios’ fault recording procedures and
how/why they carried them out
Task B Recall settings
Learners are required to set up and recall settings for a multi-track session from session recall
sheets supplied by the centre.
Learners must confirm and verify all routing and connections through the use of the console solo
and PFL functions.
The tutor should then confirm that the set up corresponds to the session recall sheets.
Task C Produce a stereo monitor mix
Using the above set up in task B above, learners are required to produce a basic stereo monitor mix
to a suitable two track format from the session multi-track provided.
Learners must reset and tidy the studio environment at the end of the monitor mix recall session.
Learners should label their recordings using APRS/SPARS labelling system.

Marking criteria


assistance
thoughts

Marking criteria


assistance
thoughts

Marking criteria


assistance
thoughts

A Learners have correctly logged two Report shows a good level of detail. Report shows a good breadth and depth of
items of faulty equipment and knowledge.
photocopied or scanned the entry in the
studio maintenance book, whilst
providing clear notice to others.
Learners have provided a basic written
report of the faulty equipment
recording process.
B Learners have set up parameters as All parameters were set correctly. Parameters were set quickly and efficiently.
required with only minor amendments
required by tutor.
C Learners have produced a monitor mix. Optimum levels have been achieved in Labelling fully complies with APRS/SPARS
Basic labelling has been achieved. Reset the monitor mix. connections.
and tidied studio environment.

Assignment 212 Session management
for sound engineers

task Pass (1 mark)
Merit (2 marks)
A Photocopies/scans and report
B Witness testimony
C Recording

Average Grade
1-1.5 Pass

Assignment 212 Session management
for sound engineers
Learner name:


Assignment 213 Music technology for hardware and
software
made up of the following Learning outcomes and tasks.

1. Examine the commercial Task A Report, research notes and
development of keyboard PS 1.1, 2.1, 2.2, 3.1 timeline diagram
based instruments UK 1.2, 1.3, 2.1, 2.2, 2.3, 3.1,
3.2, 3.3
2. Examine the development
of music technology
equipment
3. Examine industry standard

brands of music
technology equipment
Key
assignment.

software
Tasks
Task A Research and produce a report and timeline
Learners are required to plan and produce a report with three separate distinct sections.
The sections will contain the following information:
Section 1 – Development of keyboard instruments

• The development of keyboard-based instruments
• Mass produced keyboard-based instruments
• Factors in the development of keyboard-based instruments.
Section 2 – Development of music technology equipment

• Commercial factors influencing the development of music technology equipment
• Changes in music technology equipment functionality
• Emerging technologies in music technology equipment.
Section 3 – Brands and uses

• Industry standard brands of MIDI technology production equipment
• The common uses of MIDI technology production equipment
• Industry standard brands of recording studio related technology equipment.
Learners are required to collect research materials relating to the development of music technology
hardware and software.
Produce a timeline of music technology development relating to MIDI production equipment and
include this as a diagram within the report.

Assignment 213 Music technology for hardware and software
Marking criteria


assistance
thoughts

pass learner merit learner. learner.
A Learners have submitted basic details of Report shows information clearly and Report, notes and timeline show a breadth and
the development of keyboard follows a logical sequence. Timeline depth of knowledge.
instruments, mass produced keyboard demonstrates a good level of detail.
instruments and associated factors.
Learners have submitted basic details of

commercial factors, changes in
functionality of music technology
equipment and emerging technology.
Learners have submitted basic details of

industry standard brands of MIDI
technology production equipment, the
common uses of MIDI technology
production equipment and industry
standard brands of recording studio
related technology equipment.
Timeline shows basic progression of

music technology equipment.

software

task Pass (1 mark)
Merit (2 marks)
A Report, research notes and timeline diagram

Average Grade
1-1.5 Pass

software
Learner name:


Assignment 214 Composing with MIDI-based music
technology

1. Explain basic music theory Task A Report
related concepts UK 1.1
PS 1.1
2. Create audio materials Task B Audio files and MIDI
with music technology UK 2.1, 2.2, sequencer files
equipment PS 2.1, 2.2
3. Produce a finished original Task C Audio files, MIDI sequencer
composition using MIDI- UK 3.1 files, diary/reflective log,
based music technology PS 3.1, 3.2 timeline
equipment
Key
assignment.

technology
Tasks
Task A Audio analysis
Learners are required to select one MIDI-based musical genre and carry out a basic analysis of two
chosen pieces which characterise the main features of that genre.
a) Learners are required to produce a report, where appropriate, identifying the following:
• The speed (tempo) of the piece

• Instrumentation and MIDI technology
• Vocal lines
• How music technology has been used in the piece
• If there is any MIDI-based equipment use in the piece
• The location (panning) of main instruments/vocals in stereo field
• Any featured/key production devices
• The main structure of the piece.
Task B Create audio and MIDI files
Learners are required to create a series of five short audio pieces (25-30 seconds each) involving
experimentation with MIDI-based audio processes. The processes should centre on the use of MIDI
sequencing but can include the use of a MIDI triggered audio device/sampler. The short pieces
should demonstrate the creative potential of particular features available within a MIDI sequencing
system. Each file must be named and the learner should make brief notes identifying which MIDI
feature/s they have experimented with in relation to each piece.
The pieces need not be fully complete (ie they need not have a beginning/middle/end or other
structure) but should contain enough audio materials to show a full experimentation within the
feature to be explored.
The five pieces must be rendered down as audio and submitted as 16bit 44.1 kHz stereo interleaved
audio files. They should also be submitted as native sequencer project files.

Task C Create audio and MIDI files
To continue their creative experimentation, learners are required to create a piece of MIDI-based
audio of between 2 and 3 minutes in length. Learners may develop and extend one of the pieces
presented in task B or create a new piece if desired.
There is no set specification for the style or instrumentation of the piece but learners will be
required to demonstrate a substantial development of MIDI-based audio processes within the final
submitted piece. An emphasis should be placed on the technical and creative processes and
learners should keep a diary or reflective log showing the different stages of development of the
piece.
Experimentation must be confined within the limits of time available and due time must be allowed
by the learner to balance and mix down the audio for final submission.
At the end of the piece, learners will submit a timeline along with their reflective log /diary showing
how the piece was developed and completed.
The piece must be rendered down as audio and submitted as 16bit 44.1 kHz stereo interleaved
audio file. It should also be submitted as a native sequencer project file.

Assignment 214 Composing with MIDI-based music technology
Marking criteria


demonstrates knowledge relevant organised and logical sequence Provided detailed evidence which
to the finished tasks demonstrates a good breadth and depth of
assistance
thoughts

Marking criteria


assistance
thoughts

Marking criteria


assistance
thoughts

A Carry out a basic analysis of two pieces The report show an excellent level of The report show a good breadth and depth of
of music from the chosen genre and detail and are well presented. knowledge.
provided a report on all the required
characteristics.
B Five files between 25 and 30 seconds At least three out of the five pieces show All of the pieces show an in-depth level of
long have been submitted as MIDI files an in-depth level of experimentation experimentation with the stated MIDI features.
and as audio files. with the stated MIDI features.
The five pieces show experimentation

with MIDI features to a basic level.
C Submitted piece as a MIDI and audio file Piece shows an extensive use of MIDI Piece shows an in-depth level of use of MIDI
which is between 2 and 3 minutes. features to create the final outcome. features.
Shown a basic level of experimental use Log/diary shows a good level of detail Log/diary and timeline show excellent depth and
of MIDI features. and timeline is detailed and well breadth of knowledge.
presented.
Submitted a basic log/diary and timeline
showing details of the creative process.
The piece is well balanced in most

respects.

technology

task Pass (1 mark)
Merit (2 marks)
A Report and definition
For tasks B and C, please use the following marks:
B Audio files, MIDI sequencer files
Audio files, MIDI sequencer files,
C
diary/reflective log, timeline

Average Grade
1-1.5 Pass

technology
Learner name:


Assignment 215 MIDI operations

1. Explain MIDI routing and Task A Table
implementation UK 1.1
requirements
2.Analyse the suitability of Task B Audio files, MIDI files, report
MIDI sound sources for PS 1.1, 2.1, 2.2, 3.1, 3.2
different sound or music UK 1.1, 2.1, 3.2
applications
3.Edit MIDI data
Key
assignment.

Tasks
Task A Create a table
Learners are required to carry out an evaluation of the different editing functions of a MIDI
sequencer. Learners should create a table detailing different MIDI operations and their main
functions.
Task B Produce pieces of MIDI-based music/sound
In this task, learners will produce three short pieces of MIDI based music/sound. It is expected that
students will make extensive use of MIDI editing techniques to refine their pieces.
Learners will be required to follow the following brief:

• Each piece must be between 1 and 2 minutes in length.
• Each piece must contain at least six MIDI tracks.
• Within each piece there should be at least a 30 second section where all the tracks are
playing at the same time.
• MIDI data should be entered in real time or by using edit screens.
NB. Audio samples cannot be placed directly into the sequenced piece, but samplers with audio
materials may be triggered by MIDI tracks.
NB. The briefs should be negotiated with the tutor and should be set in relation to typical
commercial requirements for music (for example scenarios such as library music/atmosphere,
moving image sequence, game sequence, corporate event atmosphere/theme/backing, theatre
soundscape).
Learners will be required to carry out brief analysis of each piece and produce a short written report
containing the following information:
• MIDI routing and implementation

• Suitability of chosen sound sources for the given project brief
• What variety of techniques were used to edit MIDI data
• How the sound/music was edited to suit the requirements of the design brief.
Learners should save their sound/music pieces as MIDI sequencer files and should also submit the
files as stereo interleaved 16bit 44.1kHz audio files.

Marking criteria

A The learner needs to have: The learner needs to achieve The learner needs to achieve everything at
everything at pass grade and: pass and merit grade and:

sources/resources which are clearly
Provided evidence which Produced the task well and in an referenced
demonstrates knowledge organised and logical sequence
relevant to the finished tasks Provided detailed evidence which
Demonstrated evidence of demonstrates a good breadth and depth of
analysing research information knowledge that has been used to good effect
in the task
assistance Presented the task to a high level

thoughts

Marking criteria

B The learner needs to have: The learner needs to achieve The learner needs to achieve everything at

in the task

thoughts

A Produced a table describing the Most main functions have been described A comprehensive evaluation has been made of all
specified editing process in a MIDI at a high level of detail. areas of a MIDI sequencer’s editing facilities. A
sequencer. Most main functions have depth and breath of knowledge is shown through
been described at a basic level. the written report.
B Routed MIDI tracks to different sound Description of routing procedures and Editing is used with a high level of skill to create an
sources. MIDI implementation contain detailed excellent outcome in each case.
information.
Described basic routing procedures in
the written report. Evaluation of the sound sources shows a
detailed understanding of suitability of
MIDI sound sources are used in the sound sources and audio fidelity for a
final pieces and a basic evaluation of given purpose.
the suitability of the sounds used for
the three project submissions has been Editing procedures are accurate and have
made. been used successfully to refine the
pieces.
Editing processes have been used to
create three pieces of basic
music/sound.


task Pass (1 mark)
Merit (2 marks)
A Table
For task B please use the following marks:
B List and descriptions

Average Grade
1-1.5 Pass

Learner name:


Assignment 216 Studio sound synchronisation (film clips)

1. Explain the requirements Task A Spotting list and evaluation
for sourcing audio for short PS 1.1, 1.2
film clips UK 1.1, 1.2)
2. Plan and produce the audio Task B List and digital video file
for short film clips PS 2.1, 2.2, 4.3
UK 2.1
3. Synchronise newly Task C Digital video file
recorded speech to PS 3.1, 3.2, 3.3
replace original on-screen UK 3.1
dialogue
Key
assignment.
Centre guidance:
For this set of tasks, centres need to use a film clip (in Quicktime or similar) and a script (as a text file)
to supply to each learner. City and Guilds will provide the film clip and script on a CD.

Tasks
Learners will be issued with a short film clip by their centres. The footage will require use of Foley
effects, backing music, sound effects and spoken voice over-dubbing. A short script will be supplied
to for dialogue replacement purposes.
Task A Produce a spotting list and evaluation
Learners are required to carry out the following:
a) Load up the film clip into a MIDI/audio sequencer.

b) Make sure that the SMPTE time display bar of the sequencer runs alongside the film clip
when it is played back.
c) Provide a brief written evaluation of the requirements of audio components within the film
clip.
d) Provide a spotting list showing detailed timings of all audio requirements within the film clip.
Task B Produce the audio for a short film clip
Learners are required to carry out the following:
a) Make lists of sound/audio requirements under the following headings:

• Foley
• Sound effects
• Ambient tracks
• Music
• Speech
b) Source all of the above materials and collect them together ready for compiling. Sounds
other than Foley and speech do not need to be recorded from scratch. It is acceptable to
use sound effects libraries, library music and other sources. Speech must be recorded and
overdubbed.
NB. All audio must be of a high quality and should not contain any unwanted audio
distortions.
c) Make a note of the source of all audio and its’ copyright status.
d) Import all audio elements except the speech into the MIDI/audio sequencer and align
exactly with the visual cues listed in the spotting list, created in task A above.
e) Adjust the audio timing and volume balance until the film clip is well-supported by the audio
elements.

Task C Produce the audio for a short film clip
Learners should carry out the following:
a) Set up the film clip so that the characters speaking can be easily seen on the screen while a
audio is being spoken into a microphone (with pop shield if required).
b) The vocal parts should be recorded alongside the previously recorded material whilst
watching the action on the screen. Learners will be required to sync the vocal parts back to
picture so it is worth getting an accurate performance.
c) Line up the audio speech section to the picture, cutting the audio into smaller sections if
necessary to retain a realistic synch.
e) Bounce the audio back to the film clip.
NB. Learners may use themselves or others to record the speech parts.

Marking criteria


assistance
thoughts

Marking criteria


assistance
thoughts

Marking criteria


assistance
thoughts

A Submitted a basic spotting list listing all Spotting list is detailed and accurate in Spotting list is comprehensive and exemplifies a good
audio elements required. all respects. breadth of knowledge of the requirements of audio
for film.
Written a basic evaluation of the audio Evaluation shows high level of detail.
requirements of the piece. Evaluation shows evidence of original thought.
B Submitted a list of sounds under the All required sounds have been sourced Sounds are of excellent quality and are particularly
required headings. Sources and at a good quality. suitable for the visual cues to which they relate.
copyright status has been listed.
Alignment of audio elements is good Alignment is extremely accurate and timing has been
Audio does not contain obvious without exception. used creatively to produce an excellent and well
distortion. finished soundtrack.
All audio is well balanced.
Audio elements have been aligned in a Audio is excellently balanced.
basic way with the visual cues.
A basic volume balance of audio

elements has been achieved.
C Speech has been recorded to a basic Recording is to an excellent standard. Speech is excellently placed alongside the visual
but acceptable standard. image showing a thorough and detailed
All synchronisation between speech understanding of the requirements of lip-
Basic synchronisation of the voice has and audio has been successfully synchronisation.
been achieved. Film clip is submitted as achieved.
a single bounced-down video file.

Assignment 216 Studio sound synchronisation
(film clips)

task Pass (1 mark)
Merit (2 marks)
A Spotting list and evaluation
For tasks B and c, please use the following marks:
B List and digital video file
D Digital video file

Average Grade
1-1.5 Pass

Assignment 216 Studio sound synchronisation
(film clips)
Learner name:


Assignment 217 Studio sound synchronisation (computer
games)

1. Explain requirements for Task A List and notes
sourcing and combining PS 1.1, 1.2
audio for gaming UK 1.1, 1.2
environments
2.Plan and produce audio for Task B Gaming environment, audio
sections of gaming scenes PS 2.1, 2.2, 3.1, 3.2 files and reflective log
3. Evaluate and execute UK 2.1, 3.1, 3.2
looping of audio materials
Key
assignment.
Centre guidance:
Centres will need to supply learners with a suitable piece of software to allow live auditioning and
replacement of computer game sound (eg Sound 2 game, www.ucantv.com)

Assignment 217 Studio sound synchronisation (computer
games)
Tasks
Centres will provide learners with simulated gaming environments into which sounds can be loaded
and auditioned. Two environments will be supplied and each should incorporate looped
background music, looped background ambience and spot effects. The games should have sounds
already within the environments and learners will be asked to make an alternative set of sounds for
the games.
Task A Listen to gaming environment and make notes
Learners are required to complete the following:
a) Load up the two gaming environments in turn and spend some time observing how the
music and atmosphere sounds work together and how spot effects are used within the
game to emphasise features.
b) Make lists of all of the music, atmosphere and spot effect sections in both gaming
environments.
c) Make some notes about how the music, atmospheres and spot effects work to support the
action in both gaming environments.
Task B Replace audio sounds and keep a reflective log
Learners are required to complete the following:
a) Source a different set of replacement sounds for each of the two gaming environments.
b) The music and ambience sections will need to loop seamlessly. Edit the looped music and
ambience so that when loaded into a loop-based playback engine (i.e. sampler, repeated
audio part on sequencer etc.) the audio loops seamlessly. There is no minimum loop time
but you are restricted to a maximum loop time of 15 seconds.
c) Prior to auditioning in the gaming environment, make sure that the sounds work well
together.
d) Load up the sounds into the gaming environment.
e) Adjust or replace sounds as necessary.
f) Clearly name each sound so that it can be identified against the list you made in task A
above. Save each sound as a 16bit 44.1kHz stereo interleaved audio file. Save all of the
sound files for each gaming environment into a separate folder labelled with the game’s
name.
g) Save the two gaming environments.
Learners should keep a reflective log or diary describing the process of creating looped sections of
audio for the games and a description of how and why the length of the loops were chosen to fit in
with the atmospheres required for the gaming environment. Include a description of the way in
which spot effect sounds were sourced and edited.

Assignment 217 Studio sound synchronisation (computer games)
Marking criteria

A The learner needs to have: The learner needs to achieve The learner needs to achieve everything at

in the task

thoughts

Assignment 217 Studio sound synchronisation (computer games)
Marking criteria

B The learner needs to have: The learner needs to achieve The learner needs to achieve everything at

in the task

thoughts

A Listed all music, ambient tracks and spot Written notes show detailed Written notes show a breath and depth of knowledge
effects for both gaming environments. observations relating to the way in relating to the use of audio in the gaming
which audio has been used to support environments.
Created a basic set of notes linking the gaming environments.
features of the audio to the
requirements of the gaming
environments.
B All sounds have been created. All sounds are of a good audio quality. Learners reflective log shows an excellent depth and
breadth of knowledge of the suitability of their new
Basic loops have been created. Loop points are seamless. Loops are of sounds for the gaming environments.
an appropriate length for the
Learners have kept a reflective log in requirements of the game.
which they make observations about
the way in which their new sounds Learners reflective log makes detailed
interact with the visual aspects of the observations about the new sounds
two gaming environments. and their interactions with the gaming
environment.

Assignment 217 Studio sound
synchronisation (computer games)

task Pass (1 mark)
Merit (2 marks)
A List, notes
For tasks B, please use the following marks:
Gaming environment, audio files and reflective
B
log

Average Grade
1-1.5 Pass

Assignment 217 Studio sound
synchronisation (computer games)
Learner name:


Assignment 218 Web-based sound and music technology

1. Explain the development of Task Ai Table
web-based audio PS 1.1
UK 1.1, 1.2, 1.3, 1.4 Report
Task Aii
PS 2.1, 2.2, 2.3
UK 2.1, 2.2, 2.3
2.Outline features of digital Task Bi WAV file
recording and playback PS 1.1, 1.2, 1.3, 2.1, 2.2, 2.3,
mediums 4.1
UK 1.1, 1.2, 1.3, 2.1, 2.2, 2.3
3.Outline file formats, Task Bii Compressed files and table

conversion and playback PS 4.1, 4.3
options
4.Convert stereo tracks into Task C Web page
digitised web-based audio PS 4.1, 4.2, 4.3, 4.4, 4.5
files UK 4.1
Key
assignment.
Centre guidance
At all times learners must use their own original audio material. Illegally used third party
copyrighted material will fail this assignment.

Tasks
Task Ai Create a table
Learners are required to create a table showing four current internet audio file providers and a list
all of the file types each will support.
Task Aii Research and produce a report
Learners are required to provide a brief report commenting on the impact of the widespread use of
non-approved use of audio formats. Learners should demonstrate how this audience demand has
impacted on new business models for the music and sound industries.
Task Bi Create .wav files
Learners are required to provide three pieces of their own musical compositions (each 1.5 – 3
minutes in duration) in 16 bit 44.1 kHz stereo interleaved .wav format. Learners should title, edit (top
and tail), save and archive all files into a project folder.
Task Bii Compress files and create a table
Learners are required to import, convert and save the three stereo files (from task Bi above) as web-
based stereo audio formats to be played at 24kbps, 64kbps, 128kbps and 192kbps, using a suitable
current software based audio file converter.
Learners should title, save and archive all converted files into a sub-folder inside the project folder.
Learners are required to evaluate their 12 converted tracks on headphones and through a
professional studio monitoring system.
Learners should create a table showing the file size and any issues regarding the quality of each new
converted version of the original audio file and the options and ease of conversion management via
their chosen program.
NB. Learners can re-do their conversion work with another audio converter should they feel their
first chosen converter has not delivered a reasonable result. Any amendments to content should be
noted by all learners.

Task C Create a web page
Learners are required to can create a simple one page web file (on- or off-line) which will playback
the 12 converted audio files saved in task Bii above. Each file must be clearly titled and playback on
demand. Learners should save the web page into an appropriate location.

Marking criteria

Ai The learner needs to have: The learner needs to achieve The learner needs to achieve everything at pass

assistance
thoughts

Marking criteria

Aii The learner needs to have: The learner needs to achieve The learner needs to achieve everything at pass

assistance
thoughts

Marking criteria

Bi The learner needs to have: The learner needs to achieve The learner needs to achieve everything at pass

assistance
thoughts

Marking criteria

Bii The learner needs to have: The learner needs to achieve The learner needs to achieve everything at pass

assistance
thoughts

Marking criteria


assistance
thoughts

Examples of work submitted by a pass Examples of work submitted by a Examples of work submitted by a
learner merit learner distinction learner
AI Learners have produced a basic table on four Learners have produced a detailed table The table shows a breadth and depth of
internet audio file providers with a list of all on four internet audio file providers with knowledge.
file formats supported. a list of all file formats supported.
Aii Learners have produced a basic report on Learners have produced a detailed Learners have produced a report showing a
the impact of non-approved audio formats. report on the impact of non-approved breadth and depth of knowledge.
audio formats.
Bi Learners have created three stereo audio PASS ONLY PASS ONLY
files in the required format. Original files are
all titled, saved and archived in a project
folder.
Bii Learners have converted files to be played at Learners have produced a detailed table Learners have produced a table
the required compression rates. New evaluating their findings. demonstrating a breadth and depth of
converted files are titled, saved and archived knowledge.
in the sub project folder. 12 files have been
evaluated on headphones and professional
studio monitoring system. Learners have
produced a basic table evaluating their
findings.
C Learners have created a simple one page PASS ONLY PASS ONLY
web file. Web page plays back 12 converted
audio files on demand. Web file is saved and
archived.

Assignment 218 Web-based sound and
music technology

task Pass (1 mark)
Merit (2 marks)
Ai Table
Bi .wav files Not graded Pass only
C Web pages Not graded Pass only
For tasks B and D, please use the following marks:
Aii Report
Bii Compressed files, report

Average Grade
1-1.5 Pass

Assignment 218 Web-based sound and
music technology
Learner name:


Assignment 219 Acoustics and sound reinforcement
systems

1. Describe the structure and Task A Diagram
response of human hearing PS 1.1
UK1.1, 1.2, 1.3
2.Describe the nature of Task B Frequency graph
sound and sound wave PS 2.1, 2.2, 2.3
properties UK 2.1, 2.2
3. Describe acoustic and Task C Table, digital recordings,
electric instrument groups PS 3.1 sample library, witness
UK 3.1, 3.2, 3.3, 3.4 testimony
4. Evaluate room acoustics Task D Photograph, calculations
and acoustic treatment PS 4.1, 4.5, UK 4.1
techniques
5.Describe sound Task E Report, floor plan
reinforcement systems PS 5.1, 5.2
UK 5.1, 5.2, 5.3, 5.4
Key
assignment.

systems
Tasks
Task A Produce a diagram
Learners are required to produce a detailed diagram of the complete structure of the human ear. All
diagrams must be clearly labelled with a breakdown of the following key areas:
• Outer ear
• Middle ear
• Inner ear
Task B Produce a graph
Learners are required to set-up a small PA system within any small to medium sized room.
Using a pink noise generator/spectrum analyser, learners must record pink noise frequency signals
into the spectrum analyser via a directional microphone and stand placed at the ‘sweet spot’
position of the PA and four other locations within the room.
Learners are required to record the frequency response of the following pink noise frequencies of
63Hz, 125Hz, 250Hz, 500Hz 1kHz, 2kHz, 4kHz and 8kHz at the central listening position of the PA
speakers (listening position assumed 3-6 metres in distance dependant on room size) and four other
differing locations within the room. Learners must ensure the pink noise signal level is above any
background ambience that may be present within the room (machinery or building/general noise) to
obtain readings.
Learners should plot the room’s differing frequency response information on a customised graph(s).
Learners are encouraged to utilise the save/print functions of any software based spectrum analyser
program they may use as a reference for plotting their own graph(s).
Learners should title, save and archive (scan) a copy of all graphs within a project folder including
response information captured/recorded on software based spectrum analysers.

Task C Produce a table and recordings
Learners are required to carry out research and produce a table categorising four musical
instruments into each of the following family groups of instruments:
• String family
• Brass family
• Woodwind family
• Percussion family
• Open and closed end air column instruments.
Using a single microphone, learners are required to digitally record any four of the twenty four
instruments they have listed above. The recordings must be titled, saved and archived.
Learners then required to further source single note samples or recordings and build their own
recorded sample library of any 12 of the following acoustic and electric instruments from the
comprehensive list below.
1. guitar- semi electric 17. double bass 32. tuba 49. contrabass
2. piano 18. ukulele 33. sousaphone 50. violacello (or
3. bass drum 19. mandolin 34. accordion violincello)
4. snare drum 20. cornet and 35. pipe organ 51. dumbek or
5. toms flugel horn 36. tuba goblet (hand
21. harmonica drums)
6. congas 37. french horn
22. timpani 52. maracas
7. bongas 38. lute
23. glockenspiel 53. chimes
8. electric guitar 39. harp
24. xylophone 54. marimba
9. electric fretless guitars 40. autoharp
25. cymbals 55. gongs
10. electro-acoustic guitar 41. dulcimer
26. triangle 56. bells
11. electro-acoustic bass guitar 42. sitar
27. tambourine 57. celesta
12. saxophone 43. piccolo
28. trumpet 58. vibraphone
13. slide guitars 44. oboe
29. tenor horn 59. flute
14. violin 45. English horn
30. trombone 60. piccolo
15. viola 46. clarinet
31. flute 61. recorder
16. cello 47. bass clarinet
62. guiro
48. bassoon
Please note this is a reasonably comprehensive list intended to cover a wide range of common
instrumentation for learners to choose from.
Learners are required to aurally identify any four of the above instruments randomly selected and
played to the learner by the course tutor.

Task D Make calculations
Learners are required to photograph and research any large room type. They should calculate and
note the following:
• Room dimensions (length, width, and height)

• Room symmetry
• Cubic volume (metres/feet)
• Room surfaces
• Building location
• Room mode value.
Please note, to calculate the room mode value learners may use a simple RT60 room calculation
programme (ie online RT60 program calculator or free shareware software).
Task E Research and produce a report
Learners are required to research and suggest a suitable and feasible sound reinforcement PA
system design to facilitate any type of room with a small to medium public address (PA) system.
Learners may suggest off-the-shelf manufactured equipment to fulfil this requirement, if they so
wish.
Learners are required to report on any four of the following issues when suggesting suitable PA
system equipment:
• Loudspeaker directivity
• Feedback
• Frequency response
• Reflective surfaces
• Speech vs. music considerations/intelligibility
• Equipment selection and evaluation
• Obstructions/ impacts of building shape
• Audience/client/public considerations
• Building limitations/ building size/venue requirements,
• Design constraints and implications
• Health & safety & law(public space)
• Noise control (NC)
• Noise reduction control (NRC)
• RT60 tests/pink noise.

Assignment 219 Acoustics and sound reinforcement systems
Marking criteria


assistance
thoughts

Marking criteria


assistance
thoughts

Marking criteria


assistance
thoughts

Marking criteria


assistance
thoughts

Marking criteria

E The learner needs to have: The learner needs to achieve The learner needs to achieve everything at pass

assistance
thoughts

Examples of work submitted by a Examples of work submitted by a merit Examples of work submitted by a distinction learner
pass learner learner
A Learners have produced a labelled Learners have produced a detailed diagram. Diagram demonstrates depth and breadth of knowledge.
diagram.
B Learners have set up and used a small Learners have presented technical graphs Learners have used a studio control room monitoring
PA system and analysed the listening using files from the spectrum analyser. system or local venue PA system to record and chart their
position and four other frequency readings.
responses. They have plotted their
readings and findings on graphs that
match the details on the spectrum
analyser files.
C Learners have listed 24 instruments Learners have presented technical graphs Learners have identified all four instruments selected by
into various instrument groups. using files from the spectrum analyser. tutor.
Digitally recorded four instruments
from the researched family groups Learners have identified three instruments
information. selected by tutor.
Learners have provided 12 acoustic

and electric instrument samples and
produced their own basic instrument
library.
Learners have identified two

instruments selected by tutor.
D Learners have researched any type of PASS ONLY PASS ONLY

room and presented all required
calculations and details.

E Learners presented a basic off-the- Learners have designed and incorporated Learners have designed and incorporated a complete PA
shelf PA design to facilitate small PA their own PA system to be used inside a system.
events. small venue.
pass grade only. For Distinctions all criteria must be met for each grade. Illegal use of third party audio materials will result in failure.

systems

task Pass (1 mark)
Merit (2 marks)
A Diagram
D Photograph, calculations (not graded) Not graded Pass only
E Report
For tasks B and C, please use the following marks:
B Frequency graph
Table, digital recordings, sample library,
C
witness testimony

Average Grade
1-1.5 Pass

systems
Learner name:


Assignment 220 DJ technology and sound equipment

1. Outline the DJ industry and Task A Descriptions and job
opportunities for PS 1.1 advertisements
employment UK 1.1
2. Correctly set up and Task Bi Descriptions and job
connect together hardware PS 5.1, 5.2, 5.3 advertisements
devices UK 5.1, 5.2
3. Operate and compare Task Bii Witness testimony, video or
analogue and digital DJ PS 2.1,2. 2, 2.3 photograph
equipment UK 2.1, 2.2
4. Evaluate DJ techniques Task C Witness testimony, planning

PS 4.1, 4.2 notes, video and audio
UK 4.1, 4.2 evidence
5. Carry out essential
equipment maintenance
Key
assignment.

Tasks
Task A Produce a description

Learners are required to produce a brief description of three of the following job roles within the DJ
industry including the main skills required:
• Broadcast/internet radio DJ
• Local resident club/bar DJ
• Club/event promoter
• Mobile DJ
• Freelance re-mixer
• Dance label re-mixer
• DJ press/critic/reviewer
• DJ Podcast/content provider.
Learners are required to provide evidence of three current job advertisements within the DJ
industry.
Task Bi Carry out safety checks
Learners are required to carry out basic but essential health and safety maintenance techniques to
ensure the following DJ equipment is fully functional for public use.
• Two turntables and/or twin CD players
• Headphones
• Microphone
• PA system.
Learners are required to check and test the following:
• Correct voltage selections

• Power cables
• Power plugs
• Fuse ratings
• Earthing/binding/ground terminals
• Audio cables
• Audio connections
• Cable/signal continuity tests
• Spare leads
• Input/output line tests
• Storage & transportation of equipment (check cases/fittings)
• Correct lifting awareness (H&S)
• Clean equipment with appropriate cleaning supplies
• Weighting, balance, anti-skate, speed, lubrication.
Learners should produce their own checklist relevant to equipment being maintained.

Task Bii Set up DJ equipment
Learners are required to set-up basic professional DJ equipment as listed in task Bi above.
Tutors should testify that learners are able to identify all DJ equipment, cables and power leads
before they set equipment up. Learners are required to correctly state to the tutor the relevant
power up/power down procedures. They are required to sound check and evaluate the equipment
and video or photograph the sound check as a reference.
Learners are also required to power down and dismantle all equipment and store correctly.
Task C Plan and rehearse DJ techniques
Learners are required to rehearse any six of the following key DJ techniques:
• Beat mixing (beat per minute (BPM’s) matching/cross fading)

• Turntable cueing
• Pitching, speed, tempo, bars, sections of music
• Fading up/down
• EQ’ing
• Drop mixing, double drop mixing
• Cutting, double cutting
• Scratching and mixing instrumentals and accapellas
• Use of samples, effects, microphones
• CD mixing alongside turntable mixing
• Peripherals and any custom processing
• Interview/MC techniques.
Learners are required to plan and rehearse the timings and linking of their chosen techniques into a
single performance. Planning notes should be produced.
Learners are then required to record video and audio evidence of all techniques as a single
performance.

Marking criteria


assistance
thoughts

Marking criteria

Bi The learner needs to have: The learner needs to achieve The learner needs to achieve everything at pass

assistance
thoughts

Marking criteria

Bii The learner needs to have: The learner needs to achieve The learner needs to achieve everything at pass

assistance
thoughts

Marking criteria


assistance
thoughts

Examples of work submitted by a pass Examples of work submitted by a merit Examples of work submitted by a distinction learner
learner learner
A Learners have chosen three job roles and Learners have chosen three job roles and Report shows in depth knowledge.
identified main skills required. Provided produced a detailed report of main skills
evidence of three job adverts from the DJ required.
industry.
Bi Learners have completed basic Learners have completed maintenance and Learners have completed maintenance and provided a
maintenance and provided a checklist. provided a detailed checklist. comprehensive checklist.
Bii Learners have set up basic DJ equipment Learners have set up all equipment unaided. Learners have set up equipment efficiently and in good
and powered up/down correctly with time.
minimal assistance. Learners have
identified all equipment. Sound checks
have been recorded to video or
photograph.
C Learners have planned and rehearsed six PASS ONLY PASS ONLY
main DJ techniques and presented a live
video/audio recording of the performance.
pass grade only. For Distinctions all criteria must be met for each grade. Illegal use of third party audio materials will result in failure.


task Pass (1 mark)
Merit (2 marks)
A Descriptions and job advertisnebts
Bi Checklist, witness testimony
For tasks Bii, please use the following marks:
Witness testimony, planning notes, video and
Bii
audio evidence
Witness testimony, planning notes, video and
C Not graded Pass only
audio evidence

Average Grade
1-1.5 Pass

Learner name:


Assignment 221 Soldering and wiring for music and sound
industries (maintenance)

1. Identify wiring for common Task A Diagram
connectors PS 1.1
UK 1.1, 1.2, 1.3, 1.4
2. Isolate wiring and Task B Report, plan of action,
connectivity problems PS 2.1, 2.2, 2.3 diagnosis analysis
UK 2.1
3. Safely set up soldering Task Ci Checklist, photograph
equipment PS 3.1, 3.2
UK 3.1, 3.2
4. Prepare a selection of Task Cii Witness testimony, cables
cables and connectors PS 4.1, 4.2, 4.3, 5.1, 5.2, 5.3
UK 4.1, 5.1, 5.2, 5.3
5. Make or repair individual
leads
Key
assignment.

Assignment 221 Soldering and wiring for music and sound
Tasks
Task A Produce a diagram
Learners are required to identify the wiring for common industry connector types and draw their
own diagrams showing the tip, ring, sleeve (TRS), hot/positive (+), cold/negative (-), earth, ground,
wiring and connection terminals for the following connector types:
• Mono ¼” type A jack

• Unbalanced male and female XLR’s
• Balanced ¼” type A jack (TRS)
• Balanced Type B jack (post office)
• Bantam jack
• Balanced male and female XLR’s
• RCA/phono
• Headphone ¼” type jack.
Task B Identify and report on problems
Learners will be provided with three professional leads each of which will have any one of the
following problems.
• Dry joints
• Broken connection
• Broken or damaged wiring
• Damaged connectors
• Oxidisation
• Dirt
• Incorrect wiring.
Learners are required to identify the problems using continuity testing. Learners are required
replace, repair, renew or restore faulty connectivity. Learners are required to produce a brief report
on the problems identified and explain:
• How they were diagnosed

• How they were repaired.

Task Ci Create a checklist
Learners are required to prepare a designated area and safely set-up soldering equipment and all
tools required to carry out basic soldering techniques. The area must be clean, tidy and well
ventilated. Learners must produce use their own checklist of equipment and tools and confirm all
tools are working correctly before use.
Learners must take a photograph of the area they have set-up.
Task Cii Prepare and make cables and connectors
Learners are required to prepare and make the following common connector leads of lapped screen
cable at any length greater than 0.5 meters:
• Unbalanced ¼” type A jack to unbalanced ¼” type A jack

• Balanced ¼” type A jack to balanced ¼” type A jack (TRS)
• Balanced male XLR to balanced female XLR
• Twin (colour coded)RCA/phono-to-phono
NB. Cable lengths should be negotiated with tutor.
Each cable must have a label attached with lead type and learner name using clear heat shrink
cover.
Learners are required to test the lead for signal continuity.
Should any faults be found during the testing of the finished leads, learners will be required to repair
or replace the faulty lead or connector.
Learners must reset and tidy working area as good practice.

Assignment 221 Soldering and wiring for music and sound industries (maintenance)
Marking criteria


assistance
thoughts

Marking criteria


assistance
thoughts

Marking criteria

Ci The learner needs to have: The learner needs to achieve The learner needs to achieve everything at pass

assistance
thoughts

Marking criteria

Cii The learner needs to have: The learner needs to achieve The learner needs to achieve everything at pass

assistance
thoughts

A Learners have produced a basic set of Learners have produced a diagram Learners have drawn each connector type and used
diagrams of all required connector with images of each connector type, this as a clear reference for wired terminals
types. showing good level of detail. requested. Diagrams are comprehensive and all
information is correct.
B Learners have identified three problems Learners produced detailed price list of Learners have produced a comprehensive report
with faulty cables. Plan of action has parts required and produced a detailed showing good problem solving skills.
been completed for each fault and report.
resources required are listed and
produced a basic report identifying
faults and diagnosis methods and
suggested solution.
Ci Learners have set up area safely for PASS ONLY PASS ONLY
soldering work and photographed set
up. Submitted checklist of equipment
and tools.
Ci Learners have prepared and presented PASS ONLY PASS ONLY
i tinned cables/wires and four connectors
for chosen lead type.

Assignment 221 Soldering and wiring
for music and sound industries
(maintenance)

task Pass (1 mark)
Merit (2 marks)
A Diagram
B Report, plan of action, diagnosis analysis
Ci Checklist, photograph Not graded Pass only
Cii Witness testimony, cables Not graded Pass only

Average Grade
1-1.5 Pass

Assignment 221 Soldering and wiring
for music and sound industries
(maintenance)
Learner name:


Assignment 222 Audio electronics for music and sound

1. Describe sources of energy Task A Witness testimony and check
and power PS 1.1 list
UK 1.2, 1.3
2.Describe voltage, current, Task B Photographs and notes
resistance and impedance PS 2.1, 2.2, 2.3
UK 2.1
Task C Report
PS 1.1, 2.1, 2.2, 2.3
UK 2.1
3.Describe conductors and Task D Table
insulators PS 3.1,3.2
UK 3.1
4.Describe electronic Task E Table
components and the PS 4.1, 4.2, 4.3, 4.4, 4.5
construction of electronic UK 4.1, 4.2
equipment
5. Conduct different types of Task F Table
electrical measurements PS 5.1, 5.2, 5.3
UK 5.1, 5.2
Key
assignment.

Assignment 222 Audio electronics for music and sound
Tasks
Task A Make leads and produce a checklist
Learners are required to make the following mains leads:
• Female IEC to 13amp plug mains lead (1-3m)

• Male to female IEC mains lead (1-3m)
Learners should prepare a safe working area and check all tools are in good working order with a
checklist of tools used. Working area should be reset and tidied on completion of both mains leads.
Mains lead should be circuit tested and then verified by the tutor as a safety check prior to using
lead to power up two items of designated equipment.
NB. Leads should be stripped down on completion of this task.
Task B Analyse electrical equipment
Learners should keep brief notes as they analyse pieces of electrical equipment. They are required
to photograph electrical rating labels from three designated items of equipment. Tutors will choose
equipment with a chassis-mounted accessible mains fuse for the purposes of this task.
They should note the values and details found. It is advised learners insert the photographs next to
the notes for each label.
Learners are required to investigate and identify the current fuse rating (amps) of the three pieces of
studio equipment.
Task C Produce a report
Learners are required to produce a report on the following:
• The calculations for ohms law (voltage, resistance and current)

• The relationship of voltage, resistance and current
• The local mains voltage requirements
• The series and parallel resistance.

Task D Produce a table
Learners are required to measure eight differing materials identifying their conducting or insulating
properties. Learners should use a multimeter to measure ohms for this task:
Learners are required to measure the resistance of the following eight materials and produce a
table of findings:
• pencil lead (graphite)

• aluminium
• glass
• plastic
• wood
• coin
• cloth
• wire wool (iron)
Task E Complete a table
Learners are required to complete the following table identifying the correct electrical symbols for
the listed components
Components Electrical Symbols

Single pole switch
Resistors
Non-polarised capacitor
Diode
Chassis earth
Fuse
Variable resistor
Battery
Stereo headphone socket
Loudspeaker
Microphone
Transformer
NPN transistor
Fader
Filament lamp
Phono coaxial socket
Jack socket
Relays

Task F Produce a table
Learners are required to carry out basic electrical tests on five of the following components. A table
should be produced listing methods and results.
• Switches
• Resistors
• Diodes
• Fuses
• Battery
• LED
• Faders
• D.C. motors
• Bridge rectifier modules.

Assignment 222 Audio electronics for music and sound industries (maintenance)
Marking criteria


assistance
thoughts

Marking criteria


assistance
thoughts

Marking criteria


assistance
thoughts

Marking criteria


assistance
thoughts

Marking criteria

E The learner needs to have: The learner needs to achieve The learner needs to achieve everything at pass

assistance
thoughts

Marking criteria

F The learner needs to have: The learner needs to achieve The learner needs to achieve everything at pass

assistance
thoughts

A Learners have produced the two Quality of the leads are good in most Quality of the leads are to a professional standard.
required mains leads and a checklist of respects.
tools used.
Leads constructed to an acceptable
quality.
B Learners have photographed the three Notes show high level of detail. Notes show a breadth and depth of knowledge.
electrical rating labels with notes a on
the labelled information, to include
required fuse ratings. Basic notes have
been submitted on required areas.
C Basic report have been submitted on Report show high level of detail. Report show a breadth and depth of knowledge.
required areas.
D Learners have produced table listing PASS ONLY PASS ONLY
materials and their resistance values.
E Learners have produced table PASS ONLY PASS ONLY
identifying symbols for the required
electrical components.
F Learners have produced a table Learners have produced a table showing Methods used show depth and breadth of
showing basic methods and results. detailed methods used. knowledge.

Assignment 222 Audio electronics for
music and sound industries (maintenance)

task Pass (1 mark)
Merit (2 marks)
A Witness testimony, check list
B Photographs and notes
C Report
D Table Not graded Pass only
E Table Not graded Pass only
F Table

Average Grade
1-1.5 Pass

Assignment 222 Audio electronics for
music and sound industries (maintenance)
Learner name:


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Level 2 VRQ's in Sound

Engineering and Music

City & Guilds Group

City & Guilds

Qualification title Qual Accreditatio

Level 2 VRQ's in Sound and Music Technology (7603) 1

2 Level 2 VRQ's in Sound and Music Technology (7603)

1 Introduction to the qualification 4

Level 2 VRQ's in Sound and Music Technology (7603) 3

Qualification titles City & Guilds Ofqual Last Last

4 Level 2 VRQ's in Sound and Music Technology (7603)

City & Unit title Credit GLH WBA no

203 Mixing and recording consoles 6 40 K6013029

204 Microphones and direct inject (DI) techniques 6 40 K6013032

205 Equalisation for music and sound industries 7 40 J6013037

210 Development of studio recording equipment 6 40 Y6013057

211 Audio analysis for sound engineers 6 40 H6013059

212 Session management for sound engineers 8 40 D6013061

213 Music technology for hardware and software 4 40 M6013064

214 Composing with MIDI-based music technology 6 40 R6013073

215 MIDI operations 4 40 D6013075

216 Studio sound synchronisation (film clips) 4 40 H6013076

217 Studio sound synchronisation (computer games) 6 40 M6013078

218 Web-based sound and music technology 8 40 K6013080

219 Acoustics and sound reinforcement systems 6 40 T6013082

220 DJ technology and sound equipment 6 40 A6013083

Level 2 VRQ's in Sound and Music Technology (7603) 5

Certificate Claim Unit Numbers

Ofqual No: Qualification title Structure Credit GLH Qual Cert

6 Level 2 VRQ's in Sound and Music Technology (7603)

The aims of this qualification are to:

Typically there will be a:

Research and report tasks

Level 2 VRQ's in Sound and Music Technology (7603) 7

Timings for assignments

Submission of assignment work

Opportunities to repeat tasks within an assignment

Learner records of course work

8 Level 2 VRQ's in Sound and Music Technology (7603)

Overall grading of assignments

To combine the grades of graded tasks:

Example assignment mark sheet

Task Evidence Grade for task Mark

=Total mark for all graded tasks 13

Conversion chart Divided by ÷6

Level 2 VRQ's in Sound and Music Technology (7603) 9

10 Level 2 VRQ's in Sound and Music Technology (7603)

Health and safety

• the internal verifier is undertaking his/her responsibilities

Internal quality assurance

Level 2 VRQ's in Sound and Music Technology (7603) 11

Entry for assessment and certification

12 Level 2 VRQ's in Sound and Music Technology (7603)

• they require you to demonstrate your subject knowledge

Level 2 VRQ's in Sound and Music Technology (7603) 13

City & Guilds Assignment title

14 Level 2 VRQ's in Sound and Music Technology (7603)

Learning outcome Task Evidence

Level 2 VRQ's in Sound and Music Technology (7603) 15

Task A Create a table

Task B Describe combining job roles

Examples of other job roles:

16 Level 2 VRQ's in Sound and Music Technology (7603)