Glossary for Party Line Intercom

Some of the terms used when discussing critical communications for television or theatre may be new to you as they are unique to intercom applications. Although many of the terms are common to other audio applications, to be certain you understand their meanings we offer the following definitions:

Call:   A signal sent through a PL channel to alert users that their attention is needed.  Usually a sound or a light will do this, and in the newer systems, the belt pack can vibrate to get the attention of the operator. 

All Call:   Ability to push one button from the Main Station and talk to all channels at once on a multiple channel system. 

Ambient Noise: Those background sounds which are not part of the specific communication but are picked up by the microphone.  The selection of a good "noise-cancelling" mic will reduce ambient noise. 

Belt Pack:  A portable electronics package worn on the belt or mounted on a wall or other convenient location.  Interconnects to system with mic cable and is powered by a central Power Supply or Main Station. 

Bridging, High Impedance (hi-Z):  A method of connecting to an audio line (such as Clear-Com) without loading or taking appreciable power from that line.  Simply stated, as you add more and more stations to the line, the volume remains constant.

Bruce Cam: An unmanned camera. Also called a POV (point of view) camera or Beauty Shot. Named after an NBC cameraman who never worked a lick, so it was as if no one was working that camera.

Channel:  A channel is a line that connects parties together within a party-line - it is a duplex (two-way) talk path.   For example, if you have six people who need to hear one director, you have a seven-station single-channel need. If the same director needs to speak privately to any one of the six, add a second channel. You now have a seven-station, two-channel system.

Closed-Circuit: Any intercom which is connected via cable (also called hard­ wired).  The other type would be Wireless...we make those too.   However, if you want privacy and versatility, you probably want a closed-circuit system or a combination of both.

Cross Talk:   Leakage of audio transmissions from one channel to another. 

Drop:  A drop is a position where a belt pack/Headset and sometimes a mic and IFB are placed for use in the field or studio. 

Dry Pair:  An old telephone term. It is used to describe a pair of wires (2 conductors) that carry audio but no voltage.  Contrast this with a "Wet Pair" that carries both audio and DC voltage. 

Duplex:  Duplex refers to bi-directional communications.  Normal communication between individuals talking face to face is "full-duplex" -- in other words, you can talk and listen simultaneously.  The alternative is "half­ duplex" such as a push-to-talk situation where one station at a time can talk while others listen.  A walkie-talkie is a good example of half-duplex communication.

EFP:   Electronic Field Production.  An EFP truck contains the necessary audio, video, intercom, and other equipment to create these productions.

ENG:   Electronic News Gathering.  An ENG truck contains the necessary audio, video, intercom, communications, and other equipment to effectively support gathering news and transmitting news reports back to a studio.

IFB: The term means “Interruptible Fold Back."  A Fold-Back is a monitor system that allows, for example, talent to hear their voices or musicians to hear their voices and instruments on stage.   IFB (program interrupt) disconnects the audio source while the talk button on the Main Station or panel is pushed.

ISO: A private conversation path.  An ISO channel allows one to simply push

a button and transfer themselves and the person they wish to speak with to an isolated channel. (Also known as Local Exclusive) 

Linking:  Linking ties separate channels into one single party line.

Main Station:  This is a product that includes both the ability to communicate with multiple channels without connecting them together and to power all the stations connected to these channels.

Master Station:  A Remote Station which requires AC power to operate, and cannot power other stations

Mult: Used to be called Snakes…a multi-core cable with many mic cables within one big, fat cable 

Multi-Channel: More than one channel 

Nulling: The process of adjusting a 2wire line that connects to a 4wire line to balance the input and output of the 2wire side and to minimize the amount of audio heard from the input to the output and vice versa

Party Line (P.L.):  Intercom system where all people talking on the system can talk or listen to each other simultaneously. 

Point to Point: One private path to one person.

Program: Audio source that is fed into the intercom channels. 

Program Interrupt: Cuts or attenuates the audio source while the talk button on the Main Station or panel is pushed. (IFB) 

Remote Mic Kill (RMK): The ability for certain Main Stations to shut off an ill microphone on beltpacks in a system. 

Remote Station: As the belt pack, this would be any of the products connected to the intercom line that allows duplex or half-duplex conversation, but do not contain a Power Supply.

RF:  Radio Frequency.  Any wireless device ie: RF PL or RF IFB 

RU:  A Rack Unit. Standard device size:19 inches long & 1 ¾ inch high  

Sidetone: This is your own voice heard in your earphone as you are speaking.

Signal to Noise Ratio (S/N): The ratio between ambient noise and the voice or program audio one is listening to.  ie: Noise is your spouse’s voice…The signal is the TV show you’re trying to listen to.

Stage Announce (SA):  Redirects output of the Main Station's microphone to an external destination (such as a PA system).

Station: A station is an intercom panel that allows the user to communicate on one or more channels from one device.

Swinging PLs: remotely reassigning channels to a BP or Partyline device.

Termination:  Passive network that is connected in each channel, usually on the Power Supply or Main Station to balance the audio signal.

Talk Back (Announcer) boxes for talent headsets.  These act as cough boxes and also route the muted H/S mic to the Director and Producer in the truck.

Truck:  Or OB Van (Outside Broadcast). Usually a semi-trailer (Expando) or a big bus.  A mobile television studio complete with cameras, cables, audio, video and graphics gear as well as intercoms to connect all the inside and out of the truck personnel together.

Glossary for Matrix Intercom

Panel: A matrix user control panel used to communicate with the system

Interface: A device that connects one type of device to a different type of device

CAT5 cable:  A standard Category class cable with 8 wires (4 Pairs) inside used to connect panels, interfaces and networks together

Matrix:  A computer-based audio and data router which directs signals as programmed to and from any and all the crosspoints in the system

Biscuit: Any sort of audio speaker-box.  Ask about how it got its name

Software: (SW)code that allows a device to manipulate its environment

Firmware: (FW) code that controls how hardware will work and interact with software

Label: A port programmed on to a panel…it is depicted by 5 (I-station) or 10 (V-Panel) characters on the panel

Tweak: Making fine adjustments to a device or system. When Tweaking a Pot (potentiometer), one uses a Tweaker (small screwdriver)

10)            Upload: Extracting all the programming information from a matrix frame into the software

11)            Download:  or “pushing” all the information in the software into the matrix frame

12)            POTS:  Plain Old Telephone System.  An analogue (wet) phone line

Radios and Military

Net:  Party Line or conference

Black: Top Secret

Red:   Secret

 Going Dark:  No comms at all

Arc:   a Radio (Air Radio Communications)

RG:   Radio Grade (Cable)

Unbalanced:  2wire circuit

2wire = what we call 4wire in radio world

 Off Hook:  engaging the phone circuit (think taking an old phone off of the cradle)

TV Tawk … an A-2’s perspective

Treading Water in the Freelance Pool:   or A-2, Brutus?!

            “Second fiddle, I play second fiddle

                love the way that second fiddle sounds.

                Second fiddle, I play second fiddle

                even when the first one ain’t around”

                                                 Mac McAnally

Depending on your perspective, the position of A-2 (audio assistant) is either a cool, relatively low-pressure gig, or else it's near the bottom of the food chain in the crew pecking-order of a remote TV personnel roster.  This “day in the life of" snapshot may give you your own perspective to kick around. For most of the uninitiated, a day’s work in live remote TV can seem both vaguely familiar and otherworldly!      Read on…

Carpe per-diem, or Seize the check!

Sports broadcasting is one of the last on-going forms of live TV left. And the position of A-2 (audio assist) is the best job on the gig!! Let’s walk through a day in the life of an A-2 at a live sporting event.

Here we go:

Jeez, its early. No matter how long I do this, it never ceases to amaze me how early on a weekend morning we need to get to work. “O-dark-thirty” just doesn’t seem natural for a debonair guy like me to suffer consciousness!  Oh well, 'rock and roll isn't pretty!'  and neither is TV.   So first off it's time to get coffee, (if this is a network gig, and there is catering) and get reacquainted with this crew. Every time you show up, there are different folks to work with, and familiar faces to reacquire names for. This time-honoured ritual is an essential part of the formula that defines the FOOD CHAIN that keeps our business going. The more time you've got in (seniority, experience, etc.) the more friends you have in far off places and the more catching up you need to do. The prestigious gigs, (network, major events, like that,) require that even more time must be factored in for this sacred ceremony. Big-budget shows require a larger complement of crew and equipment and tolerate a fair amount of "lag time" to get set up. A local broadcast might need a few hours to set up, but a full-blown network show requires at least a whole set-day. Therefore "the better the pay, the longer the stay!" Or, the bigger the broadcast (regional network or better) the more (pay) days you can count on to set up and get organized.

If you're a "NEW GUY/GAL”, you might use this time to look around for a unit manager type to find out your duties and whom you need to report to, and MOST important…to "schmooze" for more work. This despicable act is necessary for both the career of the NEW GUY and to easily mark him or her as such for future harassment! This hazing is a valuable part of the learning curve of the "newbie" and must be endured and overcome as any rite of passage in the real world. More on this later. Most likely, you've already met the A-1 or mixer. If you don't already know him or her or have never worked together, now would be a good time to snuggle up, 'cause the next 12 hours of your miserable life are in his/her hands!!

Let's assume it's not raining and/or the event is indoors. That way we can skip all the prose on rain gear and slipping in the mud. I'll leave all that unpleasantness up to your imagination.  Let’s take a second to outline the different positions crewed on the mobile unit truck for most sports broadcasts:

the producer sets up sponsors, coordinates with master control, choreographs the tape replays, and keeps play by play talent happy and fed.  He or she has the final word in all matters in and around the truck, unless the consequences for the wrong decision are severe, or the talent has a better contract with the rights holder, and wants something else!!      Be nice.

the director   "calls" the cameras to be "taken" to "air" and may scream at anyone who doesn’t follow his/her spoken or telepathic commands. The good ones will keep the crew happy. Often, though, they are not confident in their skills and can take it out on the crew. Bringing him or her a soda during the broadcast will go a long way in raising your stock. And when the director is happy, then the whole crew makes out.                      Give ‘me a wide birth. 

the TD or technical director   "switches the show" by pushing buttons and faders to follow the video directions of the director. This person is responsible for the whole crew. When there is a problem or conflict, we let the TD know, and he/she can fly it up the proper flagpole.    Be nice.

the Chyron/DUET operator & Chyron/Graphix Coordinator gets all the graphics and statistics (stats) stuff ready to be built into pages to be blended into the pictures.  (i.e.: scores). They usually require some intercom fix that will only be requested thirty seconds before “air”. They work too hard and don’t get out much. If there are credits at the end of the show, be nice…                 otherwise…  

the AD or assistant director    this poor schlep must translate the whining of the producer and director to the biscuit-eating slob pushing buttons at master-control (a mythical place where we BELIEVE our audio and video [why does one have an "i" and one an "e"?] signals are sent to be broadcast out to the real world) and counts us all to and back from the commercials they are running back at MC. ("...ten to us...9...8...7..."etc.)                  Leave ‘me alone.

the tape operators   record and playback the game. If there is a "money reel", the commercials are on it and are rolled from the truck.  The "slo-mo" replays are coordinated by the producer and called for by the director. Usually, there is a "lead tape op" who calls the shots in the tape room. In the old days of 1-inch open reel tape, these guys and gals would actually roll the tape reels by hand for the slo-mo effect. Now, they use controllers with throttle-like handles. BTW, we don’t really use actual tape machines anymore, but the name remains. Most tape-ops are about three fries short of a Happy Meal™, so don’t expect much help loading and unloading the truck from these monkeys But they do run a fun place to hang out during the show, so be nice!                      Use caution…

the E.I.C. or Engineer In-Charge is sort of the captain of the ship. Once they were called the “Truck Mother”. He or she goes with the truck and is responsible for all aboard, both people, parts, and equipment. These folks are there to fix broken stuff and to whine to in general. Most are good sleepers, but I'll try to not generalize!! These are the people who will direct you to all the equipment or cables you need in the truck, so…            wake them gently...

the video "shader” is responsible for how the picture looks. He/she remotely activates filters and iris and electronic tweakage to adjust the cameras. A strange collection of pocket protectors, and computer nerds.  If you need help with your PC…..            be nice…                                                 

the camera operators are the "lead guitar players" of the broadcast "band". They are ego-driven carneys with nary a nice thing to say about anyone! They are grumpy if they don’t get their 3-hour lunch. If you need help with a microphone on a camera, don’t expect help from them. They think mic cables are bungee cords!  Don’t complicate their lives. You don't want to make them lose their place in the newspaper.                                     Keep clear…

 and the A-1   or mixer; your boss. The mixer is responsible for EVERYTHING Audio. This means; phones, intercoms, transmission, house interface, talent IFB, and so on. Be gentle, and remember they have a lot of stuff to do all at once, so if they seem testy… well, cut them some slack. It ain’t no fun in the big chair! Happiest if they never leave the truck, this, of course, means that all errands must be run by you unless you can find someone even lower on the food chain then you.  which brings us to...

the utilities, which are the bottom feeders in the chain of command. These miserable souls schlep the gear and pull the cables for the matador- like camera operators. Their hygiene is practiced intermittently, if at all. They are placed even below the ....

 P.A.s    or Production Assistants which are pathetic wannabees who work for nothing so they can be close to the "action".  They'd sell their moms for a chance to get next to Michael Jordan.

OK, so now it's time to unpack and get the show on the road.  First, we need to check with the A-1 and producer to see what we'll need for this show. Also, access to the field/court and to the press box where the announce booth will be located must be secured. Stroking the producer now would be wise 'cause you never know what kind of "SWAG" (Stuff We Ain’t Gettin’…  freebies: hats, tee shirts, jackets, or tickets) are available on a "limited basis". After you stow your coveted giveaways in a safe place, the A-1 will let you know what mult assignments will be used. Run the mults now if you can find an available utility or two.  Then find the milk crates that are supposed to not be taken from 7-11 and fill one or two with the gear you'll need.   Ask the EIC as to the whereabouts of all cable and equipment needed. A good working relationship between you and the EIC will smooth the way for a good show, so wake them very gently! Taking a quick inventory when you unpack is also a good idea.  This lets you know what you started with if you come up short at the end of the gig. Sometimes the last guy in the truck left something behind and nobody noticed. But you'll be held accountable if a count is taken after your shoot and something is missing. Sometimes it's also a good idea to test cables and equipment at the truck before you drag them to the four corners of the universe only to find out you have a bad connector or faulty box. This saves time if you have the luxury of a "cable day". 

Otherwise, roll the dice and keep your portable soldering iron handy.

Speaking of tools and such … now is a good time to mention a word or two on your fanny pack. A proper tool kit is too cumbersome to carry around, so here's what you might find in my small bag of tricks on any given day:

A "Greenie" or "Tweaker" (a small screwdriver) and also assorted other screwdrivers  

A Radio Shack Butane soldering iron (the Weller is MUCH better but is too big to fit in my pack.   Keep a spare tip and extra gas handy.)

Small vice grips to hold connectors during soldering.

A bit of solder.    

Some shrink tubing and #10 gauge Teflon tubing (for ground drains)

Dykes, (diagonal cutters), and a small needle-nose pliers. Some like a “Leatherman" type multi-tool.

Some foam to use to shock mount or windscreen for microphones.

Several kinds of tape (Gaffers [duct]; white paper [for labelling]; colored paper tape [for color coding]; and standard electrical tape.) They can hang off the belt on a "cable-tie".

A dark "sharpie" marker and a not -likely- to leak pen or pencil.

A "tone-bone", or in-line tone generator (Shure Bros. model A15TG; about $75) or a Q-Box

A listen box (Radio Shack has ‘em for about $12) or, again the Q-Box or the ROM-BOM!

Audio adapters, an AC ground lifter, and XLR "turnarounds"     

An in-line voltage checker, or “sniffer”, to test for voltage in the RTS (or CLEAR-COM) PL and IFB systems, and checking phantom power.

A cable checker (Whirlwind makes a good one for about $70)

A Multi-Meter and/or AC checker to confirm electricity is flowing where you think it should.

Depending on what your A-1 wants, setting up your booth, or announce table now, would be a good idea. There seems to be a standard in our industry for the setup of the announce position. Typically, there are three announce headsets; Play by Play (PXP), Color, and a Spare… Two “stick” mics (handheld mics)…IFBs for these positions. (IFB stands for Interruptible Fold Back.) Most often, as we look at the field of play, the order from left to right is:  Statistician; PxP; Color; and A.D. (assist director, or stage manager)

The "booth kit" may contain:

3 announcer headsets …be nice and wipe off the h/s ear cups of all makeup and ear grunge.

2 "stick" mics   EV 635s or RE 50s or some such microphone

5 IFB boxes to amplify the foldback (headphones) lines for the talent. The “stand-up” will require Telex ear-pieces. The talent may or may not have their own. Best to have extra, though. They blow up easily.

3 "Talk Back" (Announcer) boxes for talent headsets.  These act as cough boxes and also route the muted  H/S mic to the Director and Producer in the truck.

2 or more PL boxes and headsets for the intercom to stage manager, statistician, PAs, etc.

Crowd mics   hung out the window.  Guess what these are for!?  J

Cables, “Y” cords, power supplies, and adapters for the above.

Sometimes, you are required to set up the TV monitors and lights and other yucky video stuff.  SORRY!!

  While we're talking about the booth, (or the table), let's chat a moment about the "talent". Most of these kids are pretty nice. They work hard before the show preparing and rehearsing and all that. They might even treat you like a human being...but let's not count on that!!  To some of these people, you are just a Carney that they must depend on for things technical. They may not think twice about reaming you out because they can't figure out that the volume knob means LOUDER, or the earpiece won't work if it isn't plugged in. But they are the engine that drives the whole show, so be nice and keep 'em happy.

Just before we go live, we playback a pre-produced pre-show, and/or tease. These are usually recorded and packaged sometime before the show. It may include an interview with a player, coach, or owner. Your job is to wait around for a decision on whom to talk to is made, changed, blown off, changed again, and finally accomplished. Remaining calm and focused is an art form. Bring a book!

So now, we go live. If all goes well, now is the time you can take a breather. Hang out on the court, field, locker room, or truck. The locker-room is a good source of free food, and good company, so schmooze away! Now your job is to wait for stuff to break. Keep a 2way radio to stay in touch with the A-1. Bring him/her a coke, and kickback.

What we do isn't brain surgery, and sometimes you need to let some things slide and not pay as much attention to detail as one would like to in a more controlled environment. Someone once described live sports TV as "paper plate television". Like the A-2, you are called on to be the ambassador between the truck, and the talent, the house, the teams, vendors, other media representatives, and a vast concoction of other people. Maintaining perspective, and letting the higher-ups sweat the big stuff has kept me employed for quite some time. Enjoy.