Fairfax Public Access
Audio How-To Guide Copies of various equipment manuals are available online at (https://www.fcac.org/equipment-user-manuals)
Step 1 Get familiar with the types of microphones FPA has available to use in the studios and the function of each. In most interview style productions each talent will have one Lavalier mic. How-To “Setup the wireless microphones” The Wireless Lavalier / Clip-On / Lapel mic studio kit -When looking at the top of the microphone connector cable the white dot is the actual mic. Make sure it’s facing out (away from the talent). See Fig. 1 - On the microphone pouch the mic clip container should include three pieces. A smaller connector clip, a larger clip, and a windscreen. See Fig. 2 - Connect the small connector clip facing away from the mic and then clip it to the larger clip. See Fig. 3 and 4
Production tips:
Loop the mic wire along the clip to further secure the microphone. See Fig 4 Mic at least three inches away from the chin. Plus towards the side that your talent will be facing. When you place the mic on your talent, re-clip the mic cable to hide the wire from being exposed during the taping. Place the mic pack at the back on the talent. On the same side in which the mic was placed. Clip the pack to pants / pockets if possible… Our mic clips can rotate by pinching the smaller clip and rotating the larger one. Depending on the talent’s wardrobe (dresses, jackets….) rotating the clip for better positioning might be required. This will result in capturing better audio. Power on the monitor speakers in the control room by selecting the power button above the audio speaker unit.
In the Control Room How-to “Begin with setting the compressor”: See figure 7 for equipment layout. -Use these compressor settings for an interview: The compressor should always stay on. However, if you are experiencing problems requests assistance from staff. In studio A and B these starting settings should be the same. (The first knob, the far the left of the compressor should be set to -40, the next knob the “Release” set it at the 1 o’clock mark, then “threshold” at -10, then ratio 2 to 1, both the “Attack” and “Release” knobs should also be set at the 1 o’clock mark, the “Output Gain” knob should start at the zero mark but try adjusting the output gain as needed throughout the production if needed, set the “limiter” knob also at zero). -Click the stereo couple button to have channel 2 match all settings of channel 1. (Make sure the yellowish light is lit)
In the Control Room How-to “Cont. by powering the wireless receiver”: See figure 7 for equipment layout. -Turn on the power to the receiver(s) (SHURE ULXD4G units). For the Lavaliers mics turn on the top unit. -Turn on the mic pack power then check for lights on the receiver to recognize the microphone. -You can check the receiver display for the power levels of each microphone. If you need to pair a microphone to the receiver follow these steps.
How To – “Pair a wireless mic to the receiver” -A wireless mic will always need to be paired into a receiver unit in the control room. Once paired that mic will match one of the inputs labeled in the Audio Board as (MIC INPUTS 1-8). -Turn on the wireless mic, if you check the mic pack LSD display you’ll see the battery power level and the input info of its previous use. -If you need to change the input channel of a mic or you need to pair it to the receiver again follow this example. Example: Make sure the mic pack is turned on. If you wish to sync a wireless mic such as the Lavalier pack B-1 for studio B then on the top receiver unit in the control room look for RX 1. Then press the small “sync” button on the receiver. In the receiver display screen a message will appear asking you to hold the mic close to the Infrared (IR) bar. The infrared bar is located to the left of the receiver display screen. At the front of each wireless mic you’ll also see a small infrared bar. As soon as you see that message display simply hold the front of the mic close to the receiver IR bar (6” inches is close enough). If it did not work you will see a FAIL message appear. Simply try again. Otherwise if it worked you will see a SUCCESS SYNC message.
How To – “Use the audio console / mixer - Mic Checks”: Once all the mics are connected and the Lavalier mics have been placed on the talent you are ready for do the mic checks. -Using the audio mixer move the appropriate mic channel slider to Unity. Simply look for the “U” mark on the slider. -To hear the audio make sure the main mix channel slider is also up to Unity. Then make sure the small LR button next to the slider is pressed down. -Adjust the “GAIN” knob for that input channel. This is the top most located knob in the audio switcher in each channel. Simply ask the talent to speak to conduct the mic check, then monitor the main mix levels. Aim to keep it between 0 and 7 dBu. (Gain level should never really go beyond the 40bBu mark). You can monitor the audio levels by looking at the audio mixer meters or the preview and/or program monitor digital meters. -If everything is ok with the first talent audio check then press the mute button on that input channel to mute the talent and proceed to the next talent mic check. Remember to un-mute once the production starts.
Production tips: When using the wireless mics, the host talent should be channel input 1 in the audio mixer. Guests / other talent mics should be setup in consecutive order. This will help the audio operator establish better control during the production. The “TONE” channel input in the audio mixer is constantly running, it must always be muted and the channel slider should always be turned down. Always request a quarter inch adapter when checking-out the headset for the audio board operator. This headset then gets plugged-in at the top right corner of the audio board (behind the console). See Fig. 7+8 Looking at the mixer, the headset audio level knob is called “Phones”. Look for it in the master input channel. It just needs to slightly be up. The speaker monitor knob is right above it. During the production the audio operator should have their fingers in each of the channel sliders that are in use and in the master slider. This helps with reaction and control. Trouble shooting tips: -Check and make sure the monitor speakers are on. -Check and make sure the main mix is up. -Check to make sure the mics are synced for the proper studio. If needed pair the mics. -Check your input channels to make sure the LR button next to the sliders is pressed down.
How-To “Setup / connect an on-air phone call”: Initiating the call: -Check the phone for dial tone; the hybrid unit next to the phone should always be on. -Make sure the hybrid is on handset mode. Click button if needed. -Call the talent using the studio phone. -Tell caller that he/she is about to be sent to the studio and will be placed on hold for now. DO NOT hang up the phone. -Set phone down. -Hit the Broadcast button in hybrid. Both the On and Power button should be lit green at this point.
Production tip: -Communicate as a team. Audio operator Inform the Technical Director the call is ready. Technical Director to Floor Director inform that the call is ready. Prep talent for the call. *(see how to send the phone audio to the studio below) Best practice procedures to follow: -Mic checks studio talent first before initiating the call. -Once mic checks are done for the studio talent then you should initiate the call at that time. Send the studio mic audio to the talent on the phone so they can hear the host/guest(s) in the studios first. -To do this, on the audio switcher – under the AUX section, phone is listed under Aux 3. Turn the studio talent inputs to U (Unity). Then turn the Master channel Aux also under Aux 3 to Unity. Tip: During pre-production planning inform the phone guest that the studio will be the ones initiating the call. Tip: If caller is having a difficult time hearing the studio talent, you should raise the “Unity” in the Master Aux channel or in the individual talent Aux channels. *When you are ready to send the caller audio to the studio talent turn that Telephone input slider to “Unity” in the audio switcher. Then turn the Aux 1 nob to Unity. -Make sure the master Aux 1 knob is also on Unity. -Ask talent if they can hear the caller thru the god speakers in the studio set.
How-To “Setup a Skype interview”: these are tips for an individual Skype guest -Look at the mixer, for each of the studio talent mic input channels you must move the appropriate Aux select nob to Unity. (Skype is assigned as Aux 2 in Utility PC). -Look at the mixer, for the Utility PC input channel select Aux 1 (Studio nob) and move it to Unity. -Remember to also turn the Master channel Aux to Unity for nob 1 “Studio” and nob 2 “Utility PC”. -Technical Director to Floor Director, communicate as a team to help audio operator check all audio levels. -Tip: You can ask the TD to setup the camera talent monitor in the set so the guests can see the Skype cam.
How-To “Setup for a band / choir”: Recommendation: -In studio B if you plan to conduct a show with a band or choir and you plan to use additional mics (beyond the max of the 8 wireless option) then utilizing the studio snake boxes is recommended. The following snakes inputs are the best functioning ones in studio B: Snake 1, 2 and 4. (see fig. 10) -Alternatively the equipment room has a portable audio mixer, which can be used for band purposes. This mixer functions very much like the larger version. Portable Audio Mixer operation tips: See fig. 9 -When using the mini audio mixer connect both a left and right snake cable.
-Depending on the needs of the band you can setup either a Cardioid or Omni mic close to the talent / instrument(s). Connect the mic to the mini audio mixer, THEN use XLR cables to also connect the mixer ouput to the Snake boxes. This will match the snake input labels found in the control room audio mixer. You may request the extra equipment from the equipment room and/or ask for assistance when possible. ________________________________________________________________________________________________ ________________________________________________________________________________________________
Fig. 1: Wireless Lavalier / Clip-On / Lapel studio mic kit This mic is small and unobtrusive, with an “Unidirectional” / “Cardioid” pick up pattern which helps isolate sound The following is a description of each part: -Transmitter antenna- This antenna transmits audio back to the control room receiver. -Power button- Switching this button from left to right will turn the unit on/off. -Cable connector- Connection point between the microphone cable and the transmitter pack. -LCD info screen- Displayed on this screen is the specific frequency assigned to the room. It also shows the battery status. -The Infrared (IR) Bar – this is used to pair the mic with the receiver in the control room. -Microphone Cable- This cable connects the microphone element to the transmitter pack. -Battery Door- This door covers two AA batteries that power the pack. To change batteries: Hold down the two buttons at the side of the transmitter pack at the same time and slide the battery door forward. -Belt clip (this part is located in the back of the unit)- It clips the transmitter pack onto a belt or waist.
Fig. 2: Lavalier / lapel mic - Clip container The following is a description of these mics and some of the parts: -Cable Lapel Clip(s) – These are clips are used to hold the microphone element up near the audio source. -Windscreen- This is a foam cover for the microphone element to help with excess noise due to air movement.
Fig. 3 and 4: Sample of how to clip the microphone then loop the cable
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Fig. 5: Other types of mics The following is a description of these mics and some of the parts: -Cardioid microphone are the most common unidirectional microphone. The name is a reference to the "heartshaped" sensitivity of the pattern. The cardioid family of microphones are commonly used as vocal or speech microphones, since they are good at rejecting sounds from other directions. -Omnidirectional microphones are microphones that pick up sound with equal gain from all sides or directions of the microphone. This means that whether a user speaks into the microphone from the front, back, left or right side, the microphone will record the signals all with equal gain. -Wireless handheld mics generally means any microphone held in the hand and used to pick up human speech. Handmics are used in a huge variety of settings, from musical performances to television interviews. Depending on the mic can be used in either a studio or in the field. -Microphone Element- This part of the microphone that receives auto signals to be transmitted -LCD info screen- Displayed on this screen is the specific frequency assigned to the room. It also shows the battery status and if the microphone is muted. -Battery compartment- The bottom portion of the microphone unscrews to get to the battery compartment. The microphone is powered "2" AA batteries. -How to change batteries: Gripping the microphone element in one hand, grasp and twist the battery compartment counterclockwise while slightly pulling down with the other. -Power/ mute button- Holding down this button for 3 seconds will turn the unit on/off. Pressing the button for 1 second will mute the microphone.
Fig. 6: Microphone patterns
Fig 7: Control room audio mixer + other audio equipment
Fig. 8: (use a quarter inch adapter to connect headset to back of the mixer)
Fig. 7: Portable audio mixer
Fig. 8: Studio B snake boxes (Connect XLR cables to input 1-6. This will correspond to the snake inputs in the studio B control room mixer) (Reminder tip: For the best possible audio quality use either snake 1, 2 and/or 4.)
ADDITIONAL AUDIO REFERENCE AND TIPS FOR AUDIO OPERATORS AND TV PRODUCERS Sometimes TV producers become so focused on the visual part of television that the audio component becomes an afterthought. Always keep in mind that even if your show looks great if the audio component is bad nobody would be able to follow the program. While planning your show please consider the following items regarding the sound portion of the final program.
What sounds do we need in the program? All audio should have a purpose (Examples: host/talent, music, voice over work, prop sounds etc..) How do we acquire these sounds? (Will you record these sounds yourself or use effects from a sound effect library) What audio equipment is needed for the recording of the actual program? (Types of mics and set-up) Do we need to manipulate or edit any sound into the program during postproduction or add ambient sounds to improve the quality of the show? (Postproduction effects / enhancements)
TIPS: 1. During Preproduction: List all needed audio needs for the show. Make appropriate plans to accomplish the goals 2. During Production: Capture the desired sounds 3. During Postproduction: Processing or manipulation of sound can involve adding sounds obtained from sources other than those from the production recording. In the professional field its standard to only record voices/dialogue during production and to wait until postproduction to add background sounds if needed. *This will not apply for shows with music / singing but producers might wish to have editors enhance some parts of the audio during postproduction. UNDERSTANDING SOUND Two physical characteristics of sound that are helpful to understand are Amplitude and Frequency. -Sound amplitude is what we often call loudness, or volume. -Sound frequency refers to the musical note of a sound, how high or low it is. This at times can be referred to as “PITCH”. Frequency is measured in cycles per second, which are called Hertz (Hz). The frequency range of human hearing begins at about 20Hz and ends around 20,000Hz (or 20 Kilohertz). Amplitude The strength of power of a sound wave, known colloquially as loudness or volume. Amplitude also refers to the strength or magnitude of a varying electrical signal. Frequency The number of times an object vibrates or a wave (sound or electric) completes a full cycle in both magnitude and polarity. Frequency, when applied to audible sound, is commonly known as pitch and in measured in Hertz (Hz). *Important note: Audio generated from a microphone is weaker than audio generated by a line source by as much as 50 dB. Mic sources need to be amplified before mixing with line sources. A line source is an audio source that is generated as a normal signal strength from a CD player or a Video Tape Recorder in the control room.
SELECTING THE PROPER MICROPHONES The best microphone for a given situation depends on many factors. Please consider the following when making a selection. ● Microphone visibility: is it permissible to show the mic on the shot (newscasts, sport shows, music events), or should it be hidden (acting shows such as sitcoms or a movie) ● Mobility of the talent: will talent move or be stationary? Are the talent’s hands free to hold the mic? ● Number of sound sources to be mic in the shot: Will one microphone do the job or will you need more? ● Danger to the equipment: indoors or outdoors, weather, who will use the mics, do they know the handling rules? ● Pickup pattern required: Close to the sound or far away? Will there be a lot of ambient noise? ● Frequency response: How does the mic respond to high and low fast frequency changes? ● Sensitivity: Will the microphone need to put out a strong electrical signal when low-amplitude sounds are present, or must the microphone be able to tolerate very loud sounds without distortion?
ADDITIONAL MICROPHONE TIPS How to hold microphones Lavaliere Fastened below neck, such as clipped to jacket collar. Hand-Held The performer holds the mic. These mics should have internal shockmouths to reduce handling noise. Microphone stand request mic stand from the equipment room Principle of Operation Microphones convert sound to electrical signals (transduce) in a variety of ways, depending on design. Dynamic microphones a diaphragm moves coil in a magnetic field, generating an electric current. Ribbon microphones A microphone using a thin metallic ribbon moving within a magnetic field as its transducing element. Also called a “velocity” microphone. Condenser microphones A microphone using a pair of electrically charged metallic plates separated by an insulator as the transduction element. Condenser microphones require a power source for operating the microphone’s associated amplifier and sometimes for charging the metallic plates of the transducer. Electret condenser microphone A special type of condenser microphone in which the metallic plates of the transducer are permanently charged. If they need a cable running back to the mixer Wired these type of microphones needs a cable. Professional mics used low-impedance, balanced cables with 3-pin XLR connectors. Wireless These type of microphones will use a UHF signal instead of a wire. Each wireless mic needs a separate channel
Glossary of Audio Terms Accessory shoe A clip or bracket that allows mounting an auxiliary external microphone of the operator’s choice on the camera. Acoustical feedback or simply called “feedback. “A loud screeching sound created when a microphone picks up its own output over a nearby speaker and recycles it through the system. AGC (automatic gain control) An internal control device, for either audio or video signals, that automatically increases and decreases (as needed) the strength of the incoming sound or picture in order to maintain optimum signal strength for recording, playback, editing and other production purposes. Ambient sound Naturally occurring sounds intrinsic to a particular location that contribute to the mood of a scene. Amplifier A device that can magnify an electrical signal, either audio or video for mixing, distribution, and transducing purposes. Amplitude The strength of power of a sound wave, known colloquially as loudness or volume. Amplitude also refers to the strength or magnitude of a varying electrical signal. Audio cassette recorder A recorder/playback machine that uses two reels of 1/6-inch tape contained in a plastic container (cassette), thus combining features of the open-reel and cartridge tape recording systems. Most cassette recorders use analog techniques, but some cassette machines record audio in digital format. Audio compressor An electronic device used to bring weak audio levels up to an average volume. Audio mixing console A devise that allows the operator to control the selection and mixing of various audio signals to form the sound portion of a television production. From it all audio signals can be amplified, combined, shaped and channeled. Also called an “audio board,” “board” or “mixer”. Audio Operator Responsible for all audio and sound for the production. The operator selects microphones, positions them on the set and talent, tests, microphones in sound checks, and mixes the audio during the production. Audio signal flow The theoretical schematic model that sequentially traces every step of the audio path from microphone (or other audio source) to the home radio or receiver. Audio snake A cable containing bundled audio lines that terminates in a box containing multiple audio hookup. Balance In audio, the achievement of the correct ratio among several sound sources. Bidirectional microphone A microphone that is sensitive predominantly to sound arriving from only two directions. Boom (mic boom) Any device consisting of a moveable base, an adjustable stand, and a long arm for suspending a microphone above and in front of a performer. Bus In audio a common audio circuit that collects signals from several audio sources and feeds them into one source (ex. A mix bus feeds the combines audio signal to the master potentiometer). Channel The specific pathway used to be signal from source to destination. In audio, it may refer to one of a number of available lines (input channels) within an audio console where various control functions such as volume, equalization, and routing take place for the specific line.
Cardioid microphone Also known as a “unidirectional” microphone, the cardioid is sensitive predominantly to sounds arriving from only one direction. The area of greatest sensitivity has the general shape of a valentine, or heart. Clip-on microphone A microphone using a pair of electrically charged metallic plates separated by an insulator as the transduction element. Condenser microphones require a power source for operating the microphone’s associated amplifier and sometimes for charging the metallic plates of the transducer. Condenser microphone A high-quality microphone whose transducer consists of a vibrating condenser plate and a fixed back plate. Connector box (snake box) A metal box with many female XLR connectors providing a central point into which microphones used during a production are plugged. The connector box and its multiwire cable leading to the audio mixing console is often called a “snake.” Cross Fade (cross-fading) An aesthetically pleasing audio mixing technique in which one sound is faded out while another is simultaneously faded in. The two sounds blend briefly during the transition between sources. Cue In audio, to prepare an audio source (CD or audio tape) for a precise start at some predetermined time. Cue position (Cue circuit) A position on most audio posts and faders that connects the audio source to a separate nonprogram cue amplifier and speaker to enable the audio operator to listen to the source without interfering with a program audio. Cut To end production or eliminate some program material. Decible (dB) A scale for measuring the strength of an audio signal. Desk microphone Often a hand microphone supported by a heavy-based stand or by a flexible gooseneck mount attached to a desk or podium. Also called a “stand” or “podium” microphone. Diaphragm In audio, the vibrating element in a dynamic microphone that responds to the compressed air molecules of sound waves. Director While tape is rolling this person is responsible for the production. The director is responsible for coordinating all the elements of the production (camera shots, pacing, transitions) according to the producer’s instruction. Dissolve A slow cross fade. A type of edit in which one source of video or audio gradually fades out while at the same time another source fades in, with the two pictures overlapping briefly. Also called a mix. Dubbing 1. Erasing an audio track and recording new words, music or sound effects in its place. 2. Making copies of a tape, ie., duplication. Duration The length of time indicated in hours, minutes, seconds, and frames, that a section of audio, video or effects materials last. Dynamic microphone A rugged microphone whose transducer consists of a diaphragm connected to a movable coil. Electret condenser microphone A special type of condenser microphone in which the metallic plates of the transducer are permanently charged. Equalizer An electric device used to increase or decrease the levels of different audio frequencies. Fade A control on an audio mixing console that adjusts the loudness (volume) of an audio signal.
Feed A program signal, studio, and/or video brought into a mixer (audio console) from an outside (non-studio) source. Frequency The number of times an object vibrates or a wave (sound or electric) completes a full cycle in both magnitude and polarity. Frequency, when applied to audible sound, is commonly known as pitch and in measured in Hertz (Hz). Filter In audio, a device that can be used to eliminate selected low frequency or high frequency overtones. Gain When relating to audio a control on the audio board that permits the amplification of an incoming signal. Hand microphone A microphone designed to be held vertically in front of the talent’s chest. Headset microphone A small microphone on a (usually) flexible rod along with one or two earmuff speakers attached to a clamp mount worn on the talent’s head. The microphone’s close proximity to the mouth helps ensure the talent is heard clearly above the ambient noise level. Usually used during sport events. Hertz (Hz) basic unit of frequency measurement. Hypercardioid microphone A microphone that accepts sound only from one direction along a very narrow axis. The most highly directional cardioid pickup pattern. Impedance – resistance to the flow of an audio signal in a microphone cable. Lavaliear microphone (lapel mic / clip-on mic) A very small microphone that can be worn around the neck on a cord or clipped onto an article of clothing such as a tie/jacket. This is the most common type of studio microphone. Level Sound volume or intensity from a specific source or talent. Live to tape production (Live to video) a term for a program that is recorded in its entirety, or in long complete segments; with all the graphic elements included which then requires lil or no post-production work needed. Looping An audio technique where by a single loop of audiotape can be repeated endlessly on either a reel-to-reel recorder or an audio cart machine. Master Control Room Primary engineering control center where all video and audio signals are ultimately channeled; program input (both studio and network feeds), camera controls, video recording, and transmitter distribution usually are all handled for his location. Master fader (or volume) control A special fader on an audio mixing console that simultaneously increases or decreases the signal strength of all audio sources. Mic source Audio generated from a microphone is weaker than audio generated by a line source by as much as 50 dB. Mic sources need to be amplified before mixing with line sources. Noise In audio, specific audio interference (unwanted sound or static) or video interference (electronic disturbance or snow). Off-camera Any sound or action that takes place out of the camera’s view. Off-mic The audio quality resulting from a sound source that is a great distance from the microphone or out of the pickup pattern of a unidirectional mic.
Omnidirectional (non-directional) A microphone pickup pattern in which all sounds are received equally well from all directions. Parabolic microphone A dish-shaped concave reflector with a microphone at its acoustic focal point facing inward, toward the dish. The parabolic reflector and its associated microphone provide good pickup of distant sounds. Phantom power A feature of some audio boards that sends a 48-volt channel of direct current (DC) upstream in order to power a studio microphone. Playback A process where the recorded material on a tape is played back to recreate the original video and/or audio signals. Pre-production planning The preparation and planning which takes place before the cameras are powered on and the studio is set. Producer -Oversees the entire production from conception and pre-production through taping, editing, and distribution. The producer’s responsibility include, but are not limited to, coordinating all the elements of production, obtaining, a crew, signing up for studio time, etc. Sometimes the producer is the writer and director or even the host. Ribbon microphone A microphone using a thin metallic ribbon moving within a magnetic field as its transducing element. Also called a “velocity” microphone. Reverberation (reverb) The process of adding an electronic echo to music or spoken sound to produce a deliberate artificial resonation. Ribbon microphone A microphone using a thin metallic ribbon moving within a magnetic field as its transducing element. Can also be called velocity microphone. Rundown sheet (show format) Abbreviated scripting format that simply lists the various program segments in sequence. Running time The length of time a performance or a taping takes from beginning to end. Scratch Track An audio track used for synchronizing video animation of effects in an off-line situation or if the final audio track is to be edited after the visual elements have been edited. Segue An audio transition in which one sound is completely faded out and then a second source is immediately faded in (similar to video cross fade). SFX Abbreviation for sound effects. Shotgun microphone A highly directional microphone, used for picking up sounds from a distance. Signal-to-noise ration Sometimes identified as S/N, it’s a comparison of the desired audio (music/voice) to the undesired noise (such as tape hiss). Audio with little inherent system noise compared to the desirable voice and/or music is always preferred. Snake See connector box *Supercardioid microphone A unidirectional microphone that has a more narrow heart-shape pickup pattern than a standard cardioid but is less directional than a hypercardioid microphone.
Sweetening The process of enhancing an audio track during post-production editing by adding pre-recorded laughter and other audience reactions. Transduction The process of converting energy in one form (such as sound) into energy in another form (such as electricity). Tone A 1-kHZ audio signal used to calibrate the audio board and the VTRs. Unidirectional microphone See Cardioid microphone Voice-Over A script instruction indicating that the voice of an off-camera unseen narrator is to be heard over a specific picture segment. VU Meter (volume unit meter) A monitoring device that provides a visual indication of the loudness (volume, amplitude) of audio passing through and audio recorder or mixing console. Wireless microphone Also called a R.F (radio frequency microphone). A microphone with a self-containing miniature FM transmitter built in; the microphone transmitter can send its signals to the control room, eliminating the need for mic cables. XLR cable a three-wire audio cable (three-pin).