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When most people think about streaming media, they think about audio and video delivered to the desktop of their personal computer. In fact, this kind of streaming media only came into existence after 1995, when companies like RealNetworks were started, to pioneer the creation, delivery and playback of rich media via the Internet. Web browsers have pieces of software, called streaming media players, which can be installed as plug-ins (or are already built in), that make it possible to play audio or video. To date, most of the players have been available free, as a downloaded component. They use proprietary technology, and player vendors have expended a great deal of effort to make their particular players the de facto standard. The data required by the streaming media player is delivered to the computer, often using the same transfer protocols that deliver ordinary
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Web pages (i.e., HTTP). In fact, there are other protocols used for delivering streaming media, like RTP (Real Time Protocol) and RTSP (Real Time Streaming Protocol), which can allow the delivery of streaming media with more control. The development of streaming media has been and will continue to be heavily influenced by the development of Internet protocols and companies that use the IP networks to deliver digital data. New traffic management, media synchronization, and quality-of-service protocols will greatly enhance the end-user s experience of streaming media. Today, a typical home computer with a 56k modem can receive quarter-frame video at a frame rate of around five frames per second (this temporal resolution results in motion that looks jerky), with a picture size of 320 240 pixels (very poor spatial resolution, which makes the pictures look impressionistic, rather than crisp and clear). The same computer can render stereo audio in a quality that approximates FM radio reception (fairly good). If you have a computer connected to a corporate LAN, it is not uncommon to be able to stream video at 750 kilobits per second, giving full screen pictures at near DVD quality. Audio can be rendered at a quality indistinguishable from that of a compact disk. In the future, there is no technical barrier to receiving multiple simultaneous video images at better than HDTV quality, with full-quality digital surround sound on each. Added to that could be synchronized text and graphics, perhaps even overlaid on the moving pictures. In fact, there is nothing about the look of television that cannot be emulated precisely, given sufficient bandwidth from the host to the player and sufficient processing power to allow television s visual gimmicks, like lower-third straps, fades, alpha blends, page turns, fly-ins, and other digital video effects to be rendered. Many of the latest streaming media players offer some of those capabilities already.
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Many people have encountered streaming media as Internet radio. Audio can, in principle, be streamed constantly as a multicast stream to receivers, once again usually on a computer desktop. A multicast stream is a bit stream that is sent once, but can be picked up by multiple computers at the same time. Unlike the bulk of the Internet s traffic, it isn t a point-to-point transfer between two parties. The important aspect of streaming Web radio is that it can theoretically reach a global audience, for no more than the cost of reaching a local
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one. Suddenly a vast array of choices and specialized niche programming can be made available to anyone with the means to listen in. With sophisticated jukebox software and scheduling programs, it isn t even necessary for the broadcaster to have a disk jockey. In fact, multicast protocols are generally unavailable on the public Internet, due to router incompatibilities. Today, the broadcast is simulated using a single unicast stream per user, with the content delivered from a continuous, non-stop, live audio program. In this case, each additional user costs an additional amount of bandwidth to supply. Another thing that is easy to do with streaming media, but not so easy with broadcast radio, is to host interactive play lists, where the listeners choose what gets played next. Unfortunately, the performing rights societies, such as the RIAA (Recording Industry Association of America) that police the playing of copyright material to public audiences have rules that restrict how often you can play a particular artist, whether or not you can play adjacent tracks by the same artist, and so on. An interactive radio station that ignores these rules does so at some peril. If it abides by them, it limits choice and appears less than truly interactive to listeners. Under the current US copyright laws, a radio station cannot allow interactivity, such as skipping songs or rating artists so that they are played more frequently, unless the record companies and copyright holders specifically give direct permission. That means each and every party has to consent. To a Webcaster, this is an onerous restriction. The US Copyright Office has, so far, declined to revise the law. In the earliest days of streaming radio, it wasn t clear what rate the artists and publishers ought to have been paid for each public performance over the Internet. The outcome of this wrangle was that some Internet stations became uneconomic and withdrew service, citing as reasons the rates the performing rights agencies wanted to levy, plus the fact that advertisers wanted to pay no more to stream their ads. Advertisers were also upset because some of their commercials were being rebroadcast in Web streams without authorization. Advertisers had paid actors in some commercials a higher rate if their ads showed up on the Web. Advertisers didn t want to be paying the talent unless they were buying the time. Some major industry players, such as Clear Channel Communications, have recently resumed streaming. Now they create Web-only advertising for their streams. The issue of what Web-streaming companies should pay for copyrighted music on the Web was the subject of a ruling, in February 2002, by the US Copyright Office. At the time of
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