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ties, and authentication features to identify the recipient of a media stream. In 1998, the company produced RealSystem G2, describing an entire system for streaming media production and distribution. The RealServer G2 product introduced RTSP (Real Time Streaming Protocol) and SMIL (Synchronized Multimedia Integration Language), better licensing support for people deploying streaming media servers in server farms, and SureStream technology, which allowed media streams to thin when the network connection was poor. RealServer 7.0 followed in 1999, with enhanced support for SMIL (you could View Source on SMIL files) and enhanced SureStream support. The company s current server product is RealSystem iQ Server 8.0, which supports streaming of MP3 files and Apple s QuickTime 4 files. It also supports redundant encoders, to ensure that live streaming is uninterrupted, and distributed licensing. The company s current system has fail-safe redundancy, in the case of equipment or network failure, can dynamically allocate capacity to respond to demand, uses error correcting codes to guarantee 100% reliable distribution, uses redundant network paths to guarantee broadcast delivery from server to server, and claims to have zero points of failure for live broadcast. The company s NeuralCast Communications Protocol allows RealServers to exchange information and make decisions, so that capacity can be shared and servers can take the load from failed servers and network connections. The company continues to create innovative solutions to allow devices to receive streaming media. RealNetworks is active in defining how media streams on third-generation mobile phone networks. Its player technology is ported to various mobile device operating systems. The company continues to improve image and audio quality and embrace standards.
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Funded as a startup by Hummer Winblad Venture Partners, among others, in early 1996, its mission was to solve the sound quality, copyright, and copy protection issues that needed to be addressed so that streaming audio would appeal to the music industry. While RealAudio produced something akin to radio-quality audio, Liquid Audio teamed up with Dolby Laboratories to create a better-sounding streaming audio codec. The company became a content delivery network as well as a vendor of infrastructure for secure audio playback. Liquid Audio has adopted other people s standards and technology as well as created plug-ins for other streaming media players. In March
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2001, the company announced it was producing a plug-in for RealPlayer, though it had its own Liquid Audio player available for free download for years. Liquid Audio was one of the early adopters of RealNetworks RTSP protocol in 1996 and announced that it had adopted Microsoft s NetShow server and ASF file format in late 1997. In November 2001, the company announced its latest effort to incorporate Dolby Laboratories Advanced Audio Coding (AAC) technology. AAC is said to produce better audio quality with less bandwidth than the currently ubiquitous MP3 standard. Liquid Audio continues to innovate and actively promote the idea of streaming the best available music content, in good quality, securely. With its technology, it believes it can best support e-commerce with music.
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As mentioned earlier in this chapter, in corporate LAN environments, fears about excessive network loading, the wide variety of platforms that must be supported, and the belief of some managers that watching TV at the desk is not real work have meant that one of the earliest targets for the development of streaming media has so far been a resistant market. Few corporations are keen to upgrade their IT infrastructure to support streaming, even when a return on investment can be predicted. The investment required to stream within an enterprise is not just an investment in hardware. IT departments must be trained to maintain and support the streaming infrastructure. The corporation also needs to learn how to make content professionally, for it to be engaging, interesting, informative, and useful. This is a new skill for many corporations and one that has not traditionally been associated with the corporate world, having been one of the creative arts more typically allied to the entertainment industry. Streaming on the public Internet, directly to consumers, still hasn t fulfilled its promise, since broadband connections are still relatively sparse (although there are currently 21 million US homes that have DSL connections). Players also need to be able to flip channels of streaming content, just as on television (Microsoft s latest Corona Windows Media Technologies offering claims to be able to do just that). Hence, a large number of the target applications that drove the initial development of streaming media have not been fully satisfied with the technology so far available. Developments are just now reaching sufficient maturity to address those applications in wholly satisfactory ways. In the
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