PERFORMING ARTS OCR LEVEL 3 CAMBRIDGE TECHNICAL. Cambridge TECHNICALS BACKLINE TECHNICAL MANAGEMENT CERTIFICATE/DIPLOMA IN A/600/6893 LEVEL 3 UNIT 72

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1 Cambridge TECHNICALS OCR LEVEL 3 CAMBRIDGE TECHNICAL CERTIFICATE/DIPLOMA IN PERFORMING ARTS BACKLINE TECHNICAL MANAGEMENT A/600/6893 LEVEL 3 UNIT 72 GUIDED LEARNING HOURS: 60 UNIT CREDIT VALUE: 10

2 BACKLINE TECHNICAL MANAGEMENT A/600/6893 LEVEL 3 UNIT 72 AIM OF UNIT It is expected that the majority of learners will themselves be musicians and indeed it is essential that backline technical personnel are able to play at least one instrument to a reasonable standard. Learners will gain a thorough understanding of how to care for and set up musical instruments (generally guitars, drums and key boards) and the equipment used for their amplification and enhancement on-stage. The unit will focus on helping learners to achieve the all-round competence expected of a typical backline technician working for smaller bands and throughout the wider live music industry. 2

3 Backline Technical Management Level 3 Unit 72 ASSESSMENT AND GRADING CRITERIA Learning Outcome (LO) Pass Merit Distinction The learner will: The assessment criteria are the pass requirements for this unit. The learner can: To achieve a merit the evidence must show that, in addition to the pass criteria, the learner is able to: To achieve a distinction the evidence must show that, in addition to the pass and merit criteria, the learner is able to: 1 Know the design and construction basics of backline instruments P1 identify the ways in which musical styles, available materials, and popular trends have influenced the design and construction of backline instruments P2 prepare an instrument to performance standard with some assistance 2 Be able to set up and maintain backline instruments and equipment P3 prepare the backline equipment to performance standard with some assistance 3 Know technical roles and commercial practice P4 identify the commercial practices used to perform backline technicians skills effectively in a variety of roles M1 carry out the duties of a backline technician effectively in a variety of contrasting small gigs and venues D1 lead the backline team as backline technical manager providing support at a major gig, concert or event 4 Know Health and Safety practice for the backline technician P5 identify the electrical and physical hazards likely to be encountered by the backline technician, giving effective solutions M2 carry out safety checks on staging, instruments and equipment in accordance with regulations governing live performance D2 in the role of backline technical manager oversee all safety aspects and liaise with venue technical staff 3

4 TEACHING CONTENT The unit content describes what has to be taught to ensure that learners are able to access the highest grade. Anything which follows an i.e. details what must be taught as part of that area of content. Anything which follows an e.g. is illustrative. It should be noted that where e.g. is used, learners must know and be able to apply relevant examples to their work although these do not need to be the same ones specified in the unit content. Know the design and construction basics of backline instruments Learners should be familiar with: The overall construction, replaceable/repairable components and technical function of backline instruments and how they may be incorporated into backline systems. How recent history musical styles and genres have informed significant discoveries in instrumental and process technology. How the progress of associated technologies, such as those of the electronics industry, has made an impression upon the development and construction of instruments and equipment. Be able to set up and maintain backline instruments and equipment Learners should be taught: How to set up, maintain and repair instruments and equipment and gain a sound grasp of how to programme sound systems, MIDI and related commercial software packages. How to carry out first line only maintenance on the systems they build and this should include also the ability to fault find and repair or replace. This should include basic soldering skills and using a basic repair/tool kit. Their understanding should incorporate knowledge relating to the adjustment of MIDI processes, including audio signal paths and associated devices such as mixers, FX units and DIs. Know technical roles and commercial practice Learners should be aware of: The range of duties required of the backline technical manger and of the range of skills required within the various commercial contexts open to them from small gigging bands through to headline touring acts and full orchestras. This implies a working knowledge of the different demands of each of these spheres of operation and although technical competence is demanded only at the first of these (small band level), there should be a clear understanding of the nature and complexity of increased demand for the other areas of activity. For example, they should be aware of the particular needs of setting up for an orchestra, including elevated rostra, treads and music stands and drummer s podiums. The need for backline managers to be present at all stages of the performance process from get-in and set-up through rehearsal to gig, strike and get-out. The ability to tune instruments quickly and accurately as well as oversee performances from the wings, being ever ready to assist musicians in the event of a technical problem from a broken string to a dry joint. The requirement to prepare a set list with noted instrument changes required on stage. The Roadie and the nature of the role which ranges from the location and procurement of spares on tour, the making up of leads and maintenance, and repair of flight cases, to the programming of samples and saving of songs and patches. Know Health and Safety practice for the backline technician Of paramount importance is the need for a secure knowledge and understanding of and compliance with current health and safety regulations in both general stage applications and the more specific area of working with electrical equipment. Learners must be conversant with legislation governing safety of self and others, i.e.: Health and Safety at Work Act (1974); The Management of Health and Safety at Work Regulations (1992), Control of Noise at Work Regulations, RIDDOR reporting procedures, environmental health legislation; HSE risk management, COSHH. This is essential in all cases but special vigilance is required where there is a mix of old and newer/analogue and digital equipment. 4

5 Backline Technical Management Level 3 Unit 72 DELIVERY GUIDANCE Know the design and construction basics of backline instruments Learners should be encouraged to carry out their own research into the historical development of both musical instruments and related equipment such as amplifiers and mixers and should have plenty of opportunity to get a hands on appreciation of the principles of instrument technology, perhaps in a study of a range of individual instruments such as the guitar, keyboards or drums. Practical experience should be seen as an essential part of the process. This aspect of the unit will encompass the history and the evolution of musical instruments and the development of musical processing devices and will involve a study of pioneers of development such as, in the case of the guitar, the technical innovations Beauchamp and Rickenbacker and also harmonic development through individuals such as Les Paul. Also of significance would be the evolutionary process from the Broadcaster to Fender Telecaster and The Bigsby Tremolo. This study will also look at how these instruments were adapted to form the instruments we commonly see today and learners will acquire a working knowledge of the basic science behind the processes involved. Workshop models should be made available for learners to gain practice in stripping down and reassembling common instruments and equipment. There should be made available to learners a range of performance instruments to provide them with the knowledge, skills and practice needed to prepare an instrument to performance standard. In all of these activities, it is expected that learners will receive assistance until they are competent to work unaided. Be able to set up and maintain backline instruments and equipment This aspect of study should be performance focused. It is expected that the majority of learners will themselves be musicians and indeed it is essential that backline technical personnel are able to play at least one instrument to a reasonable standard. The role requires backline operations to support the artist; consequently, learners should be encouraged to cultivate their buddy skills, i.e. the business of looking after the performer and his/her equipment. This involves making sure that everything is maintained and set up in a way that supports the artist and enables them to get the best out of their instruments and equipment. Learners need to be shown how to carry out slick, yet careful and accurate, set-ups as well as how to tune an instrument precisely and quickly as well as stepping into the breach to take care of emergencies as they arise. This means learners will need to cultivate a carer mentality and to ensure that they work as part of a team and not as an individual. Know technical roles and commercial practice It is unlikely that learners will be fortunate enough to gain first hand experience of working with a headline act or a large ensemble or orchestra on tour. Nevertheless they will need to be made aware of the range and complexity of different professional demands dependant upon the role and type of venue. If possible, learners should be given a range of opportunities to practice backline skills during various kinds of live gigs. This is in addition to any personal gigs learners may be engaged upon in an extra-curricular context. They should be familiar not only with the demands of backline activities but also with those carried out by key personnel at venues, such as the technical manager or stage manager. They will need to be clear on how their own job dovetails with the duties of others and what level of communication is required to complete the necessary load-in and load-out process. This will include not just the connection, adjustment and testing of equipment but also possibly the building of stages and assembly of elements of set. Know Health and Safety practice for the backline technician Health and Safety is a critical aspect of the role. Learners will be expected to be conversant with the key features of the Health and Safety at Work Act as well as specific regulations governing theatre and performance contexts such as Control of Noise at Work Regulations 2005 and RIDDOR reporting procedures. They will need to be made aware of the variety of hazards to be encountered on tour or on temporary stages, including electrical, rigging, noise, lifting and other hazards. It would be a useful to emphasise the statistics underlying the high incidence of musicians suffering electric shocks. They should be familiar with safety and preventative measures in respect of audiences and artists as well as their own person. This will require some classroom time, but undoubtedly the fundamentals are best learned in practical situations so all gigs and events carried out should be seen also as Health and Safety exercises, with an expectation that the learner will develop strong safety awareness alongside technical progress. 5

6 It should be possible to set practical exercises that gradually increase in difficulty so that at P4 the centre set could create a mock setup for a single band, incorporating a number of faults or potential risks for the learner to identify and record. (NB This should be for exercise only and not transferred to a live performance setting.) 6

7 Backline Technical Management Level 3 Unit 72 SUGGESTED ASSESSMENT SCENARIOS AND GUIDANCE ON ASSESSMENT Assessment and Grading Criterion P1 Using research learners will create an illustrated portfolio which explains how they can: locate and access a series of resources which catalogue a variety musical styles, available materials, and popular trends investigate the effect of these on technological and artistic developments in instrument evolution include examples that are wide ranging and contrasting in terms of influences, equipment and technology produce a timeline showing the evolution and technological development of three specified instruments The portfolio may be a combination of written work and audio samples (MP3). Diagrams and figures should be technically accurate. Assessment and Grading Criterion P2 With some assistance learners will: select an instrument of their choice demonstrate how it is set up/tuned to make it ready for performance explain their process The above demonstration will be video recorded as assessment evidence. Assessment and Grading Criterion P3 With some assistance learners will: prepare instruments and equipment for a small scale live gig complete the backline set-up, adjustment and testing in preparation for performance explain their process The above demonstration will be video recorded as assessment evidence. The explanation may also be in video format or in the form of a written, diagrammatically illustrated account. Assessment and Grading Criterion P4 In their portfolio learners will include evidence they can : select a backline role in a) a headline touring act b) a large-scale ensemble research and identify the main duties and responsibilities of each role produce a log/blog recording a typical performance process for one of these Assessment and Grading Criterion M1 Learners will, with limited guidance : carry out the duties of a backline technician demonstrate effective practice in set-up, tuning, adjustment, and live assistance record the activities as part of a log or blog 7

8 The performance should be video recorded. Assessment and Grading Criterion D1 Given a medium to large scale gig, concert or music event at a specified venue, learners will: assume the role of backline technical manager attend technical preparation meetings with venue staff identify, locate and procure the necessary instruments and equipment organise and oversee the get-in and set-up lead and coordinate the backline team providing support during performance coordinate and oversee the strike and get-out produce a detailed report on all aspects arising from the performance process. Assessment of practical activities may be by teacher observation. Assessment and Grading Criterion P5 Given a non-live mock setup for a simple single band gig, learners will, with guidance: identify potential risks locate basic faults affecting safety make recommendations for improvement record the above in a log or notebook. This may be evidenced either by a recorded walk through or in the form of an illustrated ten minute presentation. Assessment and Grading Criterion M2 Given a specific live gig or concert, learners will: perform health and safety checks on the set-up prior to performance identify any hazards affecting audience, artists or crew suggest solutions and alternative safe working practices record their findings (this may be in the form of a log, report or video recording). Assessment and Grading Criterion D2 Given a medium to large scale gig, concert or music event at a specified venue, learners will: assume the role of backline technical manager attend technical preparation meetings with venue staff coordinate and oversee the health and safety aspects of the get-in and set-up oversee the health and safety aspects of the performance coordinate and oversee the health and safety aspects the strike and get-out produce a detailed report arising from all health and safety aspects of the performance process. Assessment of practical activities may be by teacher. It is expected that assessment tasks for D1 and D2 will be combined into one assessment scenario. 8

9 Backline Technical Management Level 3 Unit 72 RESOURCES Well equipped performance studio with access to mixing consoles, MIDI processors, FX units and DIs. A selection of microphones, dynamic processors and a range of effects equipment. A range of traditional and electronic musical instruments with associated equipment, staging etc. Computer software. LINKS TO NOS Suite Ref National Occupational Standards Live Events and Promotion; Sound Recording and Music Technology CCSMT34 Prepare and operate live sound and performance technology 9

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