Chapter 5
Introduction to Streaming Media

Learning curve and documentation support

As is the case with limited budgets, everyone has a tolerance level for learning new technologies. Keep in mind that some formats provide much more documentation and software tools for getting started. RealMedia, for example, has outstanding documentation and software support, including sophisticated tools for automatic server configuration. In contrast, other formats such as MP3 and MIDI are not all-in-one proprietary streaming solutions but are merely standards for audio compression or musical notation and thus do not offer a single source for documentation and support.

Besides documentation and support, the real hurdle depends on the scale of your streaming needs. If you merely want to broadcast the annual company report to a few hundred nationwide sales representatives, streaming audio is a much simpler affair versus competing with Spinner.com to become the king of Internet radio. The difference in the infrastructure required for streaming to a few hundred listeners per day versus tens of thousands is night and day. If you are broadcasting to a huge audience with a scalable robust system, the learning curve is going to be much steeper than setting up a free Basic RealServer or throwing some audio files up on your HTTP web server. Large-scale professional broadcasting requires advanced configurations and logistics, such as multicasting with multiple servers and backup systems in place for redundancy.

Audio fidelity and compression

Audio fidelity for the end listener is determined by the quality and specific setting of the codec used for audio compression and decompression. Better compression algorithms, such as MP3, result in higher fidelity audio playback over the same bandwidth connection. Audio fidelity is also determined by the target file size and bandwidth settings you are using when encoding the sound file. A larger target file size requires less compression and audio degradation but more end-listener bandwidth capacity.

Server performance--the ability of the server to detect and send the appropriate stream to the end listener--is often just as important a factor in producing an overall quality listening experience as the codec.

Low bandwidth performance overall

Nobody likes to scrimp on quality or excitement, but if you have to tailor your media to fit the lowest common denominator of your audience, you will have to make some tough choices. Some formats, such as RealMedia, excel in bandwidth and browser compatibility. Other formats, such as Shockwave or Flash, work better in high-bandwidth 56 Kbps and DSL environments and provide little to no support for server-side bandwidth negotiation.

There are two factors to consider when selecting a format for low-bandwidth environments: the inherent ability of the format to provide compelling media with small file sizes, and the server-side technology to manage the delivery of media when constrained by low or fluctuating bandwidths.

Beatnik, for example, packs a huge punch of interactive excitement in an extremely compact file size because it utilizes MIDI. The use of bandwidth-friendly MIDI technology gives Beatnik an inherent advantage over Shockwave or RealMedia. On the other hand, RealMedia provides better server-side support for ensuring that files get delivered and do not drop out, regardless of the bandwidth of the end user.

Server performance and software quality

Thinking big? For those of you who need to stream audio and video content to thousands of simultaneous listeners on the scale of a CNN, NPR, or C|net, you will need a format that provides powerful server-side features and tools. And if you plan on broadcasting live events, you will need a real-time encoding and streaming system that runs on a dedicated web server.

RealMedia and Windows Media are the leading technologies for large-scale broadcasting, with SHOUTcast (MP3) and QuickTime close runners-up. The RealServer and Windows Media Server provide bandwidth negotiation that ensures smooth audio playback for the end listener and prevents annoying drop-outs when bandwidth fluctuates.

Beyond the actual server software you choose to install, whether it's RealMedia, Windows Media, SHOUTcast (MP3), or QuickTime, streaming to a large audience is just as much or more about the hardware and bandwidth as the format you choose. Large-scale broadcasting requires multiple systems, servers, and huge bandwidth connections. That's why many companies outsource their media broadcasting to companies like Broadcast.com or Network24.com. For a further analysis of the characteristics of each format, refer to Appendix B, Audio Format Comparison. It contains a chart that will help you select the appropriate format.

About the Author

Josh Beggs is co-founder and president of Raspberry Media, a Design Firm in the San Francisco Bay Area specializing in Web-smart architecture, interface design, and brand development for Internet start-ups. Josh began his career in the multimedia industry as a recording engineer and sound designer. In 1995 he produced the interactive soundtrack for EMI Records flagship CD-ROM, Queensr˙che's Promised Land. After receiving impressive reviews from Billboard Magazine (March 1996) for the soundtrack, Josh went on to explore interactive media design with Raspberry Media. In addition to designing some of the top Web sites on the Internet, he also follows his musical passions as a pianist and recording artist.

Dylan Thede's multimedia experience began in the cultural mecca of the San Francisco Bay Area in 1985. At a young age, he was designing sound systems and multimedia presentations for the University of California at Berkeley. At the University of California at Santa Cruz, Dylan became a pioneer in the emerging fields of Digital Audio, Digital Video, and Multimedia and later graduated with a degree in Multimedia and Psychology. He was one of the pioneers in web design when the World Wide Web burst onto the scene in 1994. In 1995, Dylan founded AudioVisualize, a multimedia consulting company that caters to companies who wish to implement multimedia into their web sites and corporate operations. Besides writing and creating multimedia projects, he is also a musician and is currently composing and recording music for an upcoming multimedia CD release.

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