explain manufacturers specifications for a range of audio recording equipment P1 In order to get a merit in this task you will need to

Unit 25 Music Production Techniques M/600/6972 10 credits Issue: September 2012 Due: October 2012 Task 1 Research the different specifications for the following pieces of equipment. Look at all the different types and work out the abbreviations and possibilities for each. Produce a company leaflet called A Guide to Studio equipment. Make sure that you explain all the jargon for each piece of equipment. Equipment: Mixing desk/daw controller/dynamic microphone/condenser microphone/monitors/leads/headphone amps/di box Evidence A hard copy of your leaflet with all the manufacturers explanations. Assessment In order to get a pass in this task you will need to explain manufacturers specifications for a range of audio recording equipment P1 In order to get a merit in this task you will need to illustrate manufacturers specifications for a range of audio recording equipment M1 In order to get a distinction in this task you will need to analyse manufacturers specifications for a range of audio recording equipment D1

Task 2 Following your training, you will need to practice using the equipment so that you are confident recording audio correctly and are able to multi track and mix competently. You will need to practice in your free time. Read and research about techniques for recording. Make personalised notes on what you have understood. You will then have two observations in the studio one setting up and capturing audio, the second one will be mixing and mastering. Your observer will give you feedback on how you have done, and, if necessary you will repeat the observation to improve your grade. Evidence You will file your observed report in your folder. Assessment In order to get a pass in this task you will need to: set up the equipment required for a recording session competently with limited tutor support P2 capture audio sources using multi-track recording techniques P3 mix multi-track recordings.p4 In order to get a merit in this task you will need to: set up the equipment required for a recording session confidently with total independencem2 capture audio sources using multi-track recording techniques competently M3 mix multi-track recordings competently M4 In order to get a distinction in this task you will need to: set up the equipment required for a recording session demonstrating mastery of the techniques involved D2 capture audio sources using multi-track recording techniques with confidence and flair D3 mix multitrack recordings with confidence and flair D4

Unit 25 Music Production Techniques M/600/6972 10 credits For a pass you need every P, for a merit you need every P and M and for a Distinction you need every box signed off. Task Criteria Tutor sig Date 1 explain manufacturers specifications for a range of audio recording equipment illustrate manufacturers specifications for a range of audio recording equipment analyse manufacturers specifications for a range of audio recording equipment set up the equipment required for a recording session competently with limited tutor support set up the equipment required for a recording session confidently with total independence set up the equipment required for a recording session demonstrating mastery of the processes involved. capture audio sources using multi-track recording techniques. capture audio sources using multi-track recording techniques competently P1 M1 D1 P2 M2 D2 P3 M3 capture audio sources using multi-track recording techniques with confidence and flair D3 mix multi-track recordings. mix multi-track recordings competently P4 M4 mix multi-track recordings with confidence and flair. D4

TUTOR FEEDBACK SHEET Task date Feedback 1 2 3 4 5 6 TUTOR Date assessed I.V. Date IV d FINAL GRADE FOR UNIT

J/600/6945 BTEC Music Technology Assignment Unit 32 Sequencing Systems and Techniques J/600/6945 J/600/6945 J/600 Issue Date : October 2012 J/600/6949 Assessment Date : December 2012 Introduction. MIDI and audio sequencing tools have put a vast range of creative possibilities into the hands of composers and performers of music, and created an environment where, alongside traditional composition methods, the manipulation of pre-existing sound is accepted as valid starting point for original creation. In this unit you will create a portfolio of music using the tools available within sequencing software packages. Learners will work with MIDI and audiobased sequencing, each of which has a vast range of techniques that can be utilised in the production of modern music. Assessment criteria By completing the following activities and keeping the evidence listed, you will be able to meet all the criteria up to a Distinction Level. Final Assessment will be in the form of Pass, Merit or Distinction.

Task 1 Draw a diagram showing the usual set up for a MIDI workstation. Include types of cable, types of sound, and label all equipment. Include any advice or help with setting up the equipment safely and correctly. Evidence A filed hard copy of your labelled diagram. Assessment In order to get a pass in this task you will need to: set up a computer and peripheral MIDI hardware safely and competently with limited tutor support P1 In order to get a merit in this task you will need to: set up a computer and peripheral MIDI hardware safely and competently with total independence M1 In order to get a distinction in this task you will need to: set up a computer and peripheral MIDI hardware safely and competently demonstrating mastery of the processes involved D1

Task 2a A TV company has asked us to provide a CD with several tracks which they can use for a programme. Each track has to be created using some special guidelines as follows: 1. A track of a simple chord progression which repeats. You have to produce this without a MIDI keyboard! 2. A track of spooky mysterious strings which is programmed to fade in and fade out using MIDI controllers 3. The opening piano of Let it be editied to sound as real as possible. 4. A track which mixes and edits everyday sound samples Evidence A CD of your 4 tracks filed in your folder, backed up on USB

Assessment In order to get a pass in this task you will need to: realise musical ideas using MIDI sequencing skills P2 realise musical ideas using audio sequencing skills P3 In order to get a merit in this task you will need to: realise musical ideas using MIDI sequencing skills competently M2 realise musical ideas using audio sequencing skills competently M3 In order to get a distinction in this task you will need to: realise musical ideas using MIDI sequencing skills with confidence and flair D2 realise musical ideas using audio sequencing skills with confidence and flair D3

Task 2b You have been asked to provide a professional sounding backing track using MIDI instruments. It must contain at least 5 midi tracks. The raw material should be downloaded from the internet you may choose the track. You should edit every instrument using the techniques which you have recently learned so that it sounds realistic and professional. You must follow this up by replacing two of the tracks with real audio. This must been done in MD8 using the external soundcards. At least one of these replacement tracks should be performed by you. PASS realise ideas using MIDI and audio sequencing skills (P2 P3) MERIT do the above competently (M2 M3) DISTINCTION do the above with confidence and flair (D2 D3) Evidence An exported file of your completed mix.

Assessment In order to get a pass in this task you will need to: realise musical ideas using MIDI sequencing skills P2 realise musical ideas using audio sequencing skills P3 In order to get a merit in this task you will need to: realise musical ideas using MIDI sequencing skills competently M2 realise musical ideas using audio sequencing skills competently M3 In order to get a distinction in this task you will need to: realise musical ideas using MIDI sequencing skills with confidence and flair D2 realise musical ideas using audio sequencing skills with confidence and flair D3

Task 3 Write a guide explaining how each of your tracks in 2a and 2b was created. Discuss the process involved using correct terminology and screen shots where necessary. Evidence A hard copy of your guide, backed up on USB Assessment In order to get a pass in this task, you will need to: explain the terminology associated with music sequencing techniques P4 In order to get a merit in this task, you will need to: Illustrate the terminology associated with music sequencing techniques M4 In order to get a distinction in this task, you will need to: analyse the terminology associated with music sequencing techniques D4

Grading Grid for Unit 32 Sequencing systems and techniques. For a pass you need every P, for a merit you need every P and M and for a Distinction you need every box signed off. Task Criteria Tutor sig Date 1 set up a computer and peripheral MIDI hardware safely and competently with limited tutor support set up a computer and peripheral MIDI hardware safely and competently with total independence set up a computer and peripheral MIDI hardware safely and competently demonstrating mastery of the processes involved P1 M1 D1 2a/b realise musical ideas using MIDI sequencing skills P2 realise musical ideas using MIDI sequencing skills competently realise musical ideas using MIDI sequencing skills with confidence and flair M2 D2 2a/b realise musical ideas using audio sequencing skills P3 realise musical ideas using audio sequencing skills competently realise musical ideas using audio sequencing skills with confidence and flair 3 explain the terminology associated with music sequencing techniques Illustrate the terminology associated with music sequencing techniques analyse the terminology associated with music sequencing techniques M3 D3 P4 M4 D4

TUTOR FEEDBACK SHEET Task Date Feedback 1 2a 2b 3 TUTOR Date assessed I.V. Date IV d FINAL GRADE FOR UNIT

BTEC Music Technology Assignment Unit 9 Delivering a Music project R/600/6964 10cr. Issue Date : January 2013 Assessment Date : June 2013 Introduction. As you have been discovering, there are many roles within the music industry that contribute to the creation of a commercial music product. In addition to the artist, key roles include the recording engineer and the producer. During this unit you will further your understanding of these roles and you will be expected to demonstrate competence in these roles. Teamwork is an essential part of this ongoing unit. The boss of the company is going to promote one member of the team. He will be choosing the candidate based on some of the work in this unit. Assessment criteria By completing the following activities and keeping the evidence listed, you will be able to meet all the criteria up to a Distinction Level. Final Assessment will be in the form of Pass, Merit or Distinction.

Task 1 The first demo of this unit is in Year 12 and the second demo is in Year 13. Each person on the team has been asked to produce a Year 12 demo CD and a Year 13 demo CD. Each demo should be at least 2 pieces of multi-tracked contrasting material. One studio track and one PC/software track. You should submit a proposal of your artists and pieces for approval. The proposal should outline your plan and timescale for the project. For the studio track, you will need to work closely with your chosen artists throughout the process from rehearsal to final mixing and mastering. Your artists will need to be available for your timetabled Music Tech sessions, although much of the work for this Unit will be in your own time. For the software track, you can use any software in MD8 or Reason, subject to availability. You will need to keep a weekly journal of all your sessions in this unit. The journal should include dates of rehearsals, plans, discussions, decisions made, rough recordings, details of tracks recorded and any photographs or recordings of work in progress. You will also need a full track sheet for each project. Evidence Track sheets for each project A detailed and thorough journal of your work. Your final demo CDs.

Assessment In order to get a pass in this task you will need to: produce stereo mixes of the multi-track recordings competently using given sources P2 record and/or produce multi- track material competently using given resources and personnel P3 edit and master the stereo material competently using given parameters.p4 In order to get a merit in this task you will need to: record and/or produce multi-track material competently selecting resources and personnel M2 produce stereo mixes of the multi-track recordings competently selecting resources M3 edit and master the stereo material competently selecting parameters. M4 In order to get a distinction in this task you will need to: record and/or produce multi-track material competently selecting and justifying resources an personnel D2 produce stereo mixes of the multi-track recordings competently selecting and justifying resources D3 edit and master the stereo material competently selecting and justifying parameters.d4

Task 2 (Year 12) A local college has asked the company to produce a guide to basic recording for their BTEC First students. The guide should not repeat information from your first unit, but explain how to plan and set up recording sessions for a variety of musical groups eg. Rock band/soloist/acoustic guitars/string quartet. You should give details and personal suggestions based on your experience throughout your time working with your chosen artist. Evidence A hard copy of your advice and information leaflet. Assessment In order to get a pass in this task you will need to: identify how to plan and set up recording sessions that utilise both microphones and directly recorded source material, taking into consideration the needs of the performers P1 In order to get a merit in this task you will need to: describe how to plan and set up recording sessions that utilise both microphones and directly recorded source material, taking into consideration the needs of the performers M1 In order to get a distinction in this task you will need to: explain the planning and setting up of recording sessions that utilise both microphones and directly recorded source material, taking into consideration the needs of the performers D1

Grading Grid for Unit 9 Delivering a music project For a pass you need every P, for a merit you need every P and M and for a Distinction you need every box signed off. Task Criteria Tutor sig Date 2 identify how to plan and set up recording sessions that utilise both microphones and directly recorded source material, taking into consideration the needs of the performers describe how to plan and set up recording sessions that utilise both microphones and directly recorded source material, taking into consideration the needs of the performers explain the planning and setting up of recording sessions that utilise both microphones and directly recorded source material, taking into consideration the needs of the performers 1 record and/or produce multi- track material competently using given resources and personnel P1 M1 D1 P2 record and/or produce multi-track material competently selecting resources and personnel record and/or produce multi-track material competently selecting and justifying resources and personnel 1 produce stereo mixes of the multi-track recordings competently using given resources produce stereo mixes of the multi-track recordings competently selecting resources produce stereo mixes of the multi-track recordings competently selecting and justifying resources 1 edit and master the stereo material competently using given parameters. edit and master the stereo material competently selecting parameters. edit and master the stereo material competently selecting and justifying parameters. M2 D2 P3 M3 D3 P4 M4 D4

TUTOR FEEDBACK SHEET Task Date Feedback 1 2 TUTOR Date assessed I.V. Date IV d FINAL GRADE FOR UNIT

BTEC National Award Assignment Unit 25 Music Technology in Performance Issue Date : September 2012 Assessment Date : December 2012 Introduction. Over time, the boundaries between traditional instrumental performance and music technology performance are becoming increasingly blurred. Music technology has been used in performances since the experimentalists in the 1960s, but it is becoming more apparent, frequent and mainstream. In some instances, technologists are now performers rather than supporters.. The range of technologies now available for performers is immense. DJ techniques and experimental methods areused but there are many further options available such as the mic-ing of traditional instruments and their distortion, and equipment such as Sound Beam. Combining music with other art forms is a well established trend. Musical accompaniment for singers and dancers is the norm and in the same way, music technology can be combined with many different art forms to create a finished piece. Music technology and instrumental/vocal performances are common examples but music technology can also link with dance, art and moving image. You will develop the skills to use music technology in live performance. You will understand how music technology can be integral to a live performance rather than play only a supporting role. You will become music technologists as well as performers. You will research the history and development of music technology in performance from the experimentalists to current trends. Finally, you will work with artists from another art form to create an integrated performance

In this unit, you will need to : 1. Show that you understand how music technology applications can be used in performance situations, with due regard to safety. 2. Be able to use a range of music technology applications safely and creatively in Performance. 3. Understand the historical and developmental context of electronic, computer generated and electro-acoustic music performance. 4 Be able to combine music technology with related art forms in performance. Assessment criteria By completing the following activities and keeping the evidence listed, you will be able to meet all the criteria up to a Distinction Level. Final Assessment will be in the form of Pass, Merit or Distinction.

Task 1 The company has been asked to expand our current website. Create a link to an information section charting the history of music technology in performance. You need to research landmark composers, compositions, performances, developments in technology from the latest music technology publications eg. Sound on sound, comment on the practicalities of performances which use increasing amounts of technology and different approaches in composition. You are aiming to comment critically on the context of electronic, computer-generated and electro acoustic music performance. Evidence Your evidence will be this section of the website which you have created. In order to get a PASS in this task, you will need to describe the context of electronic, computer-generated and electro-acoustic music performance in your website. In order to get a MERIT in this task, you will need to describe and explain the context of electronic, computer-generated and electro-acoustic music performance in your website. In order to get a DISTINCTION in this task, you will need to describe and explain and critically comment on the context of electronic, computer-generated and electro-acoustic music performance in your website.

Task 2 Give a short performance to the team! Your musical performance must use some form of musical technology to enhance it. You can choose and plan the nature of the technology. You will need to rehearse so that your performance is fluent. You can use other members of the company to help you if needed. You will be told in advance which lesson your performance will be in. Evidence A video of your performance Assessment In order to achieve a pass in this unit you will need to use music technology in the live performance of music with minor errors that do not detract from the overall effect P3 In order to achieve a merit in this unit you will need to use music technology competently in the live performance of music M3 In order to achieve a distinction in this unit you will need to use music technology in the live performance of music demonstrating artistic flair D3

Task 3 The company has been asked to provide an audio experience to accompany a Chellaston art exhibition. You will need to research the current exhibition to plan how the music will become part of the experience next year. This will lead to designing and composing the music and how it will be performed. You are aiming to use music technology within a performance which integrates with the many different visual experiences. Evidence The boss will attend the exhibition and assess the quality of the music In order to get a PASS in this task, you will need to use music technology competently for the exhibition (mistakes/errors will not detract from the overall effect) In order to get a MERIT in this task, you will need to use music technology competently and confidently for the exhibition In order to get a DISTINCTION in this task, you will need to use music technology for the exhibition competently and confidently with creativity, interpretation and artistic flair.

Grading Grid for Unit 25 Music Technology in Performance For a pass you need every P, for a merit you need every P and M and for a Distinction you need every box signed off. Task Criteria Achieved Tutor Grade Describe how music technology applications can be used in performance situations, with due regard to safety Explain how music technology applications can be used in performance situations, with due regard to health and safety Comment critically on music technology applications can be used in performance situations, with due regard to health and safety Use music technology competently in the performance of music. P1 M1 D1 P2 Use music technology competently and creatively in the performance of music. Use music technology in the performance of music showing understanding, innovation and musical flair. Describe the context of electronic, computer-generated and electro-acoustic music performance Explain the context of electronic, computer-generated and electro-acoustic music performance Comment critically on the context of electronic, computergenerated and electro-acoustic music performance Use music technology to perform with related art forms competently with minor errors that do not detract from the overall effect. Use music technology to perform with related art forms competently and confidently Use music technology to perform with related art forms with creativity interpretations and artistic flair M2 D2 P3 M3 D3 P4 M4 D5

BTEC National Award Assignment Unit 15 Listening skills for musicians Issue Date : January 2013 Assessment Date : March 2013 Introduction. Anyone working in music needs to have good listening skills. This ability is essential in order to perform, compose or to work as a DJ in a recording studio or with live sound. Producers and personnel making decisions for a record company must be able to listen effectively when making choices. Sound engineers need to be able to recognise and describe the quality of musical and other sounds so that they can balance and creatively adjust them. They also need to listen for different types of distortion. Music producers also need to listen for intonation and timing problems. A new wing of the company is opening. We will be launching this new venture from today. We will be creating, designing and writing a new music magazine, which informs the reader about bands, recordings, new CDs and comments on music technology and recording and producing quality.

Assessment criteria In order to gain a pass in this unit, you will need to : Listen to a recording or performance and describe its musical components. Listen to a recording or performance and describe its sonic components hear and identify sonic and musical faults in a recording or performance with a degree of independence. Describe the textures of musical instruments and the effect of the acoustic environment on them. In order to gain a merit in this unit, you will need to : Listen to a recording or performance and explain its musical components. Listen to a recording or performance and explain its sonic components hear and identify sonic and musical faults in a recording or performance competently with total independence. Explain the textures of musical instruments and sounds and the effect of the acoustic environment on them. In order to gain a distinction in this unit you will need to : Listen to a recording or performance and critically comment on its musical components. Listen to a recording or performance and critically comment on its sonic components. Hear and identify sonic and musical faults in a recording or performance, competently and independently, critically comment on the textures of musical instruments and sounds and the effect of the acoustic environment on them.

Task 1 You will need to train your listening skills. You will be played several clips of musical recordings. You will need to answer given questions and spot any recording faults or mistakes. Evidence Your evidence will be your answers to the given questions,

Task 2 In this task you will start the new branch of the company. As a group, you will start by creating a name and identity for our new magazine. You will need a chief editor, who will put articles together. You will need to decide on the format of the magazine and the first recordings which will be reviewed. You will then need to submit articles for the magazine, make editorial decisions, proof read and produce the final version. Evidence Minutes of meetings. Your contributed articles Research articles which you have learned from The finished product(s)

Help/Advice section. You should aim to cover different styles of music: western art music, pop music, jazz and music from around the world). Aim to have articles on covers, (your music products) live performances (school concerts) and film/tv music. You should aim to comment on : dynamics; tempo; articulation; time signatures; note values; simple and compound time; regular and irregular rhythms; syncopation metronome markings; beats per minute (bpm); tempo instructions; pulse; style You should also discuss the following: frequency range of sounds; contrast between sounds Sonic field: mix; balance; blend; clarity; position in depth of sound-field; placement in stereo (or surround) field; depth of the field Sound effects and processors: equalization; boosts and cuts; masking; dynamics and volume change; different balances for different musical styles The following may be helpful as research: www.audiomedia.com, www.livesoundint.com, www.prosoundeurope.com.

Grading Grid for Unit 15 Listening skills for musicians For a pass you need every P, for a merit you need every P and M and for a Distinction you need every box signed off. Task Criteria Achieved Tutor Grade 2 listen to a recording or performance and describe its musical components listen to a recording or performance and explain its musical components listen to a recording or performance and critically comment on its musical components 2 listen to a recording or performance and describe its sonic components P1 M1 D1 P2 listen to a recording or performance and explain its sonic components listen to a recording or performance and critically comment on its sonic components 1 hear and identify sonic and musical faults in a recording or performance with a degree of independence 1 hear and identify sonic and musical faults in a recording or performance competently with total independence 1 hear and identify sonic and musical faults in a recording or performance, competently and independently, showing a comprehensive understanding 2 describe the textures of musical instruments and the effect of the acoustic environment on them. 2 explain the textures of musical instruments and sounds and the effect of the acoustic environment on them. 2 critically comment on the textures of musical instruments and sounds and the effect of the acoustic environment on them. M2 D2 P3 M3 D3 P4 M4 D4

Task date Feedback TUTOR FEEDBACK SHEET 1 2 3 4 5 6 TUTOR Date assessed I.V. Date IV d FINAL GRADE FOR UNIT

Issue Date : March 2012 BTEC National Award Assignment Unit 38 The Music freelance world Assessment Date : June 2012 Introduction. Most people working in the music industry will have selfemployed (freelance) status at some time in their career. Apart from a few large companies, the music industry consists of small companies and many self-employed people working as musicians, producers, songwriters, administrators and a host of other professions. The skills needed to work as a freelance are common to all these areas, and indeed are common to freelance work in any industry. These skills and attitudes are vital not only to creative and commercial success but also to survival as a freelance practitioner. This unit has been written to give learners an understanding of the freelance way of life within the performing arts industry. Taking a professional approach to working in the industry is as essential as having a good product to market, and the unit outlines what qualities industry professionals expect of people working with them. Many people in the music industry stress the importance of attitude as well as aptitude and how important it is that fellow workers communicate well. Assessment criteria By completing the following activities and keeping the evidence listed, you will be able to meet all the criteria up to a Distinction Level. Final Assessment will be in the form of Pass, Merit or Distinction.

Task 1 The company is coming to the end of it s 2 year project. You may have to consider working for yourself in the future! As research, prepare a questionnaire for self-employed freelance workers in the arts industry. You are aiming to learn about the preparation and background to working as a freelance artist. You should aim to cover questions about : national insurance; tax; pay; expenses; business plans; funding; profit and loss; cash-flow; invoices; book-keeping: planning; goal setting; time management; contracts; working within a team when required; delegation; taking responsibility; networking; resources required (personal, office, equipment, materials, financial, human) qualifications; experience; targets; action plans; realistic goals; inter-personal skills; motivation. You should enquire about the importance of punctuality; preparation; advertising, marketing, promotion, reliability; commitment, networking; communicating; negotiation skills; up-to-date CV;being a professional member of a industry organisation, eg Musicians Union; BPI; APRS; MPG; AIM; MPA; IMMF Health and safety: safe working practices; safety equipment; safety procedures; risk assessment; professional health Evidence Your completed questionnaires.

Task 2 Use the findings from your questionnaire to put together 3 case-studies of freelance artists. For each one, critically comment on how successful/detailed each approach is. Evidence A hard copy of your 3 case studies.

Task 3 Make an alphabetical glossary of all the important words concerning working as a freelance within the music industry. Describe, explain and comment on each word, giving examples where necessary. Evidence A hard copy of your glossary.

Task 4 Make an additional tab on your website giving information and advice for people considering working as a freelance in the music industry. You should include advice on promotion and marketing. Evidence A saved version of the website with the additional advice pages.

Task 5 The time has come for you to move on from the company!! The boss would like to see your CV. Put together your own CV with particular reference to music, and music technology experience which you have learned. You will need to look at examples of CVs and draw from the best examples. Evidence A hard copy of your CV.

Grading Grid for Unit 38 The music freelance world. For a pass you need every P, for a merit you need every P and M and for a Distinction you need every box signed off. Task Criteria Achieved Tutor Grade 1/2/3 Describe financial and self-management considerations needed for freelance work in the music industry. Describe selfdevelopment requirements within the music industry. Describe the importance of a professional approach to being freelance Explain financial and self-management considerations needed for freelance work in the music industry. Explain self-development requirements within the music industry. explain the importance of a professional approach to being freelance Comment critically on financial and self management considerations needed for freelance work in the music industry. comment critically on selfdevelopment requirements within the music industry. Comment critically on the importance of a professional approach to being freelance. 4 Describe a range of entrepreneurial approaches. P1 P2 P3 M1 M2 M3 D1 D2 D3 P5 Explain a range of entrepreneurial approaches. Comment critically on a range of entrepreneurial approaches. 5 create a CV competently with a degree of independence create a CV competently with total independence Create a CV with total independence and a comprehensive understanding of the process M5 D5 P3 M3 D3

TUTOR FEEDBACK SHEET Task Date Feedback 1 2 3 4 TUTOR Date assessed I.V. Date IV d FINAL GRADE FOR UNIT

Assessment criteria In order to gain a pass in this unit, you will need to : Describe financial and self-management considerations needed for freelance work in the music industry. Describe self-development requirements within the music industry. Describe the importance of a professional approach to being freelance. Describe a range of entrepreneurial approaches. Create a CV competently with a degree of independence In order to gain a merit in this unit, you will need to : Explain financial and self-management considerations needed for freelance work in the music industry. Explain self-development requirements within the music industry. explain the importance of a professional approach to being freelance Explain a range of entrepreneurial approaches. Create a CV competently with total independence In order to gain a distinction in this unit you will need to : Comment critically on financial and self management considerations needed for freelance work in the music industry. Comment critically on self-development requirements within the music industry. Comment critically on the importance of a professional approach to being freelance. Comment critically on a range of entrepreneurial approaches. Create a CV with total independence and a comprehensive understanding of the process