August 26, 2004
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Cover: StreamGuys (left to
right) Jonathan Speaker, Kiriki Delany, Jed Perlmutter and Nick
Harris.
[photo by Bob Doran]
story & photos by BOB DORAN
SOMEWHERE
IN THE COLD WASTES OF ANTARCTICA, RESEARCHER George Matt sits
at a computer in his heated living space, listening to tunes
by his favorite folk blues artists. He wants to share the music
he loves with others, but the fact is, there aren't many people
around. His solution: He starts his own radio station, but not
the old fashioned kind with an antenna -- it's an Internet station,
www.ANetStation.com,
to be exact, a place where people in warmer climates all over
the world tune in and hear what Matt hears at home.
A Net Station is one of thousands
of Internet radio stations worldwide using what is called streaming
audio, taking advantage of the ever-increasing number of high
speed Internet connections to turn the Web into a 21st-century
broadcasting medium.
While you might not expect Humboldt
County to be on the cutting edge of emerging technology, StreamGuys, a local company
with offices in downtown Arcata and Sunny Brae, has grown to
become the second biggest provider of audio streaming services
in the world. The firm offers streaming services with dedicated
servers and network services for a wide range of users, streaming
live audio and video programming and archiving on-demand audio
and video content for businesses and radio stations.
For the uninitiated, streaming
is a data transfer method in which digital information, usually
audio or video files, flows continuously from one computer to
another, like a stream. The end user has a program called a player,
such as RealAudio, WindowsMedia, Quicktime or WinAmp to read
the stream of encoded data as it comes in, forgoing the need
for downloading large files, thus allowing for uninterrupted
computer access to a signal from a radio station, for example.
Streaming has become ubiquitous
on the Web, with musicians and record companies streaming audio
samples of recordings for sale, movie companies streaming trailers
for films, political parties streaming candidates' speeches and
commercials -- and a myriad of streaming radio stations, big
ones and very small ones targeted at micro-niche audiences. Right
now more than 450 of this new crop of broadcasters work with
StreamGuys to put their signals on the Web.
Humboldt
Buzz
The
roots of StreamGuys go back to 1997, a time when Kiriki Delany
[photo at right] , founder and chief technical officer of the group,
was the keyboard player in an Arcata reggae band called Makageddon.
Experimenting with the then-emerging technology of Internet broadcasting,
Delany and Jonathan Speaker, both Humboldt State computer technology
students, would bring a laptop computer to live shows at Six
River Brewing in McKinleyville and other venues, and tap into
the sound mixing board, running a cable to the computer, which
in turn would be plugged into a telephone line feeding a live
data stream of Makageddon shows or performances by other bands
to a Web site: www.humboldtbuzz.com.
"Humboldt Buzz was a free
Web site for the arts and music community around Humboldt County,"
Delany recalled. "We would sign up bands for free to put
their music on the site, so if they had a CD release, you could
listen to it online. But the cool stuff we did was to show up
to venues where the bands were playing live," and send the
music out on the Internet.
Speaker [photo below left, at left] ,
who serves as StreamGuys director of operations, noted, "We
were involved in streaming pretty much from day one, from the
time is opened up to the public. At the time you had a couple
of advanced NPR [National Public Radio] stations adopting it;
they were some of the first. What we were doing was saying, `Hey,
we can utilize this for local bands, get their music out.' Since
Humboldt County is behind this `redwood curtain,' what better
way to get a global audience? That was the seed that started
the process."
Rasta
goes pro
At
the time he and Delany were blazing musical trails on the Web,
Speaker doing work in Humboldt State's Computer Information Services
(CIS) department. "We started up what was called the Courseware
Development Center in the CIS department. Kiriki was a student
then; he took charge of the streaming aspect in distance learning."
One of Delany's side projects
at school was setting up an online radio station, www.rastamusic.com,
broadcasting reggae music. "Then when I finished school,
I had to find myself a job," he recalled. "People who
knew about [rastamusic.com] were asking me, `How do I set up
an Internet station? Where do I get the services?' That's what
gave me the idea. We started up a business doing that."
Delany incorporated StreamGuys
in 2000, initially working with Jed Perlmutter, another Humboldt
grad, who had just returned from China, where he was looking
into the potential for international trade.
"We started with one client
and were profitable our first month; we're still profitable,"
said Delany, noting that at this point the company has seven
full-time employees, around a dozen part-timers, and more than
450 clients.
Arbitron, a national company
that ranks radio stations and other broadcasters based on market
penetration, now includes ratings for streaming providers based
on Total Time Spent Listening (TTSL), the number of hours Internet
listeners, called "streamies," are tuned in.
Earlier this year they ranked
StreamGuys the No. 2 "content delivery network" (CDN)
in the world. Granted, the No. 1 CDN, Live365, based in Foster
City, outranked them by far, with 2,925,053 TTSL as opposed to
the StreamGuys' 601,322 TTSL. But the silver medal isn't bad.
Perlmutter, StreamGuys vice
president for business development, noted that the company deals
with a wide range of clientele, "all the way from hobby
broadcasters who send a stream to just 10 people simultaneously,
to major radio stations like WNYC, which broadcasts to thousands
of people with low quality and high quality bit rates."
(See accompanying story, "What Is
Streaming?", for definitions.)
Streaming
KHSU
One niche the StreamGuys have
developed is in public radio stations like WNYC in New York.
"We also stream the NPR stations in Seattle, Philadelphia,
Vermont, New Hampshire -- we have a strong base there,"
said Speaker.
KHSU Development Director Charles
Horn is familiar with streaming -- the staff at the Humboldt
State NPR affiliate has been talking about it for years -- but
he wasn't aware of the local firm, StreamGuys, until he met Speaker.
"It turns out they provide
streaming services for some of the top tier NPR stations out
there," said Horn. "When we found that out, and added
in the fact that they're local, we were sold."
According to Station Manager
Elizabeth Hans McCrone, StreamGuys will initially provide KHSU
with a 32 kilobytes per second (kbps) SHOUTCast MP3 stream serving
100 peak users. "We wanted something that would be flexible
for all platforms, for Mac users, not just Windows," she
said, explaining the choice of the SHOUTCast format.
There was some small resistance
to moving into streaming from KHSU DJs who worried about the
impact of some of the rules involved, in particular changes in
recordkeeping and a prohibition on playing multiple successive
tracks from one CD, based on copyright laws.
The concerns were outweighed
by demand for streaming from listeners, some of them Humboldt
alumni out of the area, but also from local listeners. Horn noted
that, due to the line-of-sight nature of radio broadcasting,
there are parts of the HSU campus that cannot receive an adequate
signal to tune into the station from its Kneeland broadcast tower.
"This is a long time coming,"
said Hans McCrone. "It probably should have happened long
ago; now that it's happening, we're excited about it." (KHSU's
streaming will begin after the conclusion of the Olympics.)
[KHSU website: www.khsu.org]
Radio
Humboldt and HUMBOLDT 101
Nick Harris, 21, a computer
information systems student at HSU, became part of the expanding
StreamGuys tech staff in the spring. His pet project is something
he calls Radio Humboldt (www.radiohumboldt.com).
Speaker described it as "getting back to our roots,"
providing services to the local music scene similar to what was
happening years ago with Humboldt Buzz.
"It's a radio station for
local music," Harris explained, "like a Yellow Pages
where local bands can sign up and upload songs, post pictures
and contact information for a directory.
"It will also include a
couple of streams of local music -- streaming is the base of
what we do at StreamGuys. We're gathering content from various
bands to run 24-hour-a-day music feeds. Right now we have a sort
of punk, underground, hip-hop stream; we'll add more, maybe a
reggae stream and a rock stream."
The process is pretty simple:
Harris takes CDs by local bands, chooses a few tracks and turns
them into smaller compressed files called MP3s, which are stored
on his home computer. The MP3s are then run through WinAmp, a
program that encodes them into a broadcast signal. That signal
is sent from Harris' Arcata apartment via the Internet to a server,
a bank of computers in Chicago, where StreamGuys lease space.
"The server in Chicago
has a much better network connection than my computer could ever
have," Harris continued. Right now as many as 50 users can
tune into Radio Humboldt at one time; that number can be doubled
or even increased as much as a hundredfold when and if it seems
necessary.
Arcata
native Ken Conlin, a partner in Eureka-based North Coast Advertising
Agency, operates a hobby station he calls Humboldt 101, with
music content that is the polar opposite of Radio Humboldt's
youth-oriented local underground mix.
Conlin said he decided to get
into the streaming radio game after searching in vain for a professional
sounding station on the Net featuring the music he likes.
"I used to do radio locally,"
he noted, explaining that he worked as a radio program director
and music director locally for about 15 years. "The format
I'm doing on Humboldt 101 was one I did in the mid-'80s on KCRE
out of Crescent City. I call it `bright, easy listening.'"
Since he already had a large
collection of music in the format, tunes by the likes of Ray
Conniff, Percy Faith and Bert Kaempfert mixed with soft rock,
he found that getting on the air online was pretty easy. He signed
up with streaming giant Live365 in May, paying them $18 a month
for a set amount of storage on their server.
"You could go professional
on there, but I wouldn't want to do that, it's just a hobby.
It's a social thing for me. I do a live show most Tuesdays. I
have their broadcasting software; I hook a microphone up and
I can control what I play from my hard drive and talk in between
songs."
The program also shows how many
people are tuned in. One Tuesday he had 85 listeners. "The
other night I started doing it and it became three listeners.
Then it became zero, so I stopped talking to myself," he
concluded with a laugh.
The momentary lack of ears may
have been a time zone problem. Conlin's live broadcasts run from
7 to 9 p.m. He receives a regular accounting of "geo stats"
from Live365 showing that his listeners are not just in the United
States -- a number of fans in the Netherlands, Japan, Chile,
Brazil and Israel enjoy his music.
More
pins on the map
Another local StreamGuys client
is Internews, the Arcata-based nonprofit with an international
reach, whose stated goal is "fostering independent media
in emerging democracies." (See Journal cover story
"Arcata's Best Kept Secret,"
Sept. 11, 2003.)
"They have radio broadcasting
as part of a global outreach," said Speaker, who recently
sold Internews founder David Hoffman on the idea of working with
the StreamGuys. "As of a couple of weeks ago, we're pulling
a feed out of the capital of Armenia. By partnering with Internews
we're looking forward to expanding our reach, and enabling their
broadcasters to reach ex-pats living in the Western world."
"This isn't something we've
been involved with before," said Annette Makino, Internews'
vice-president for communications. "Our work is supporting
independent media in countries overseas -- we train journalists,
help them produce news, advise them on media law. It's not geared
to the U.S. market -- the focus is on local media. What's of
interest to someone in Yerevan, the capital of Armenia, is not
necessarily of interest to someone from Idaho -- unless they
happen to be Armenian."
She sees streaming as a side
benefit to Internews' usual mission. "If the programming
is already there, and if there's a cheap and easy way to get
it on the Internet, and accessible to the diaspora communities,
it's a plus for both sides: for the producers who want to get
their news out and the listeners who want to be in touch with
what's going on back home."
Perlmutter sees the new relationship
with Internews as part of the StreamGuys' ever-expanding mission.
"One thing we're striving for is improving the dissemination
of information. We can pull a broadcast from anywhere in the
world and relay it to European and Western consumers, or anyone
who has a computer. You have 150,000 Armenians in California.
By pulling this source stream out of Armenia, they're able to
listen to their home country news directly from the source. That's
the power we provide."
And, he noted, the Armenian
feed is by no means the company's first foray into global communications.
"For example," he said, pointing to the world map behind
him, "Abner Brooks, over here in the Caribbean Islands,
can broadcast his music to Caribbean ex-pats living up in Toronto,
who are getting a little homesick. We have a broadcaster, Voice
of Taiwan, broadcasting out of Taipei. I was able to watch their
presidential inauguration over the Internet, that's not something
you'd find on cable television."
Perlmutter continued, "There
are a couple of hundred thousand Albanians in New York City.
One of our clients, Radiodashuria.com, broadcasts from there.
It's significant from a national or cultural perspective. People
who don't have the money to control a mass broadcasting [outlet]
can get their message out."
To say Delany is optimistic
about the future of streaming is an understatement. "As
more people get broadband access the audience will grow, and
there will be even more independent broadcasters, and less [power
in the hands of] huge media broadcasters. New businesses will
form that were not viable before."
Perlmutter echoes his sentiments.
"You have a mixture of entertainment, news, facts -- information
delivery. Again we're talking about the power of unfiltered information
direct from the source. It's all about choice, about freedom
of information."
What
is streaming?
"The short definition of streaming
is audio and video distribution over the Internet, television
and radio. We do both," explained Kiriki Delany, founder
and chief technical officer of StreamGuys.
"For example, you have a radio station
producing their show, pulling things off CDs, tape carts, talking
on the air, live guests in the studio, whatever. The signal comes
out of their mixing board and goes to the broadcast tower, you
tune it in on your radio.
"For streaming, the station will send
a second output from the mixing board to a soundcard input on
a computer; the computer is [connected to] the Internet, and
it has an encoder to change the analog audio signal to digital,
in one of several streaming formats. The encoded signal is beamed
to one of our servers, which could be in Chicago. The server
acts like a broadcast tower with listeners tuning into the station
on their home computers."
With the Web's global reach, the station
could be anywhere. One wall in the small StreamGuys office in
Arcata is filled with a huge map of the world with pins marking
cities where the company supplies streaming services.
Jonathan Speaker, director of operations,
explained that the local office is merely the "operational
sales face," where clients are contacted to set up or fine
tune contracts. The centers where data is stored or relayed worldwide
are in Chicago, San Jose and Aspen, Va.
"We're what's called a streaming content
delivery network," Speaker explained. "What we do is
provide those people who want to stream the proper network and
bandwidth to be sure that their end-users get a quality stream."
The client has a number of choices to make:
how many streams to offer, what format (there are six to choose
from), and the quality, measured by bit rate, a gauge of the
strength of the data stream, anywhere from 24 kpbs (kilobits
per second), a trickle, to 544 kbps, comparatively, a raging
river of data.
"You could actually broadcast from
your own computer, but you're only going to get a limited number
of listeners, only a handful will be able to access that stream
because of the limited through-put, the speed rating on your
Internet signal that determines how much data you can transfer
per second," said Speaker.
-- BOB DORAN
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KHUM's streaming
glory days
The
local FM station KHUM was quick to adopt streaming, taking their
radio signal online not long after they began broadcasting in
1996. "It was a new thing. We were one of the first stations
doing it," said Cliff Berkowitz, KHUM's program director.
"At first we were only
streaming a maximum of like 60 streams, so it wasn't that much,
but shortly after that we were contacted by a company called
BroadcastAmerica.com.
They said they would stream for us in exchange for a few [advertising]
spots. The upside was they had unlimited streams, and at a very
high quality. They put a T-1 line into our studio [the highest
speed broadband connection available] connecting us to Portland,
Me., then broadcast our station all over the world on the Net."
The BroadcastAmerica.com Web
site offered similar streams from stations all across the country;
KHUM became one of the most popular. By 1998 the station boasted
as many as 10,000 listeners at once and was ranked near the top
of all streaming stations.
Berkowitz attributes the success
to the station's eclectic "radio without the rules"
format. "It was perfect for the Internet because most people
couldn't get anything like it where they were locally. We had
e-mails from every corner of the world. We
even got one from some guy working at a weather station in Antarctica."
(No, he doesn't know whether it was George Matt, the researcher
who started his own Internet station.)
Sadly, the glory days did not
last. "Once the dot-com bubble burst, BroadcastAmerica went
bankrupt," said Berkowitz. "The party was over with
that, and we went back to 60 streams, which were maxed out most
of the time. The quality wasn't as good, but at least we had
a presence."
The next change came from on
high: new copyright regulations from Washington. "The RIAA
(Record Industry Association of America) was pushing Congress
really hard for some kind of regulation. They saw Internet streaming
as stealing, basically the same as downloading songs with Napster
[the notorious file-swapping program] -- which is ridiculous;
it's just listening to music.
"The RIAA has had a longstanding
agreement with radio where we pay them no fees. It's in the best
interest of the industry for us to be playing music over the
air because it helps sell records."
Though radio stations still
do not pay fees to the RIAA, streamers were not so lucky.
Legislation was passed setting a royalty rate: $.0007 per
song per listener, with the added provision that it would be
retroactive to 1998 for any commercial station wanting to continue
streaming.
"Since we were so successful
back [at the peak], it would have cost us thousands of dollars.
It was a no-brainer: either shut it down or pay up big. We said,
`Bye.'" KHUM's ride on the Web ended in July 2002.
"We have commercial broadcasters
and non-commercial broadcasters -- they both pay licensing fees,"
noted StreamGuys founder Kiriki Delany. "If you're broadcasting
music, licensing is something you have to work out."
"When Internet broadcasting
was a pioneer technology, the province of technicians, there
was no need for regulation," said Delany's partner, Jed
Perlmutter. "But now that it has come into its own with
more and more people listening, it has become regulated. That's
just the way it is."
-- BOB DORAN
How-to guide for streamies
Becoming an Internet radio listener, or
a streamy, is pretty easy. All that's required is a computer,
an Internet connection, and a program to read files, which you
probably already have if you are using a fairly new computer;
if not, look for one on Google (www.google.com)
and download the one best suited to your computer.
While a high-speed connection is preferable,
it's not mandatory. A number of stations offer small streams
at a low bit rate (speed of information flow) that will work
with an old-fashioned phone modem.
How do you do it? Just find a station you
want to hear, typically on a Web page. Clicking on the station's
URL (hyperlink) opens a player and the stream flows. No downloading
needed.
While I'm typing this, I'm listening to
a stream of my favorite radio program from the BBC, Charlie Gillett's
world music show (www.bbc.co.uk/radio/aod/world.shtml?charliegillett)
which is broadcast live on Radio London Saturday nights. I could
listen live on Saturday afternoon, but I don't. The BBC archives
all of its programs for a week after they air, so I can listen
anytime in the week.
The Stream
Guide: www.thestreamguide.com
Searchable list provided by the StreamGuys, includes their clients
and others, sorted by genre, country of origin and bit rate.
Live365 Internet
Radio: www.live365.com
"Thousands of free online Web radio stations." Note:
Unless you purchase their premium player, Live365 inserts commercials
into all feeds; most of the commercials urge you to switch to
their premium service. Humboldt 101 is at www.live365.com/stations/309753
Radio Locator:
www.radio-locator.com
"Formerly the MIT list of radio stations on the Internet,"
comprehensive easy-to-use guide with links to more than 10,000
station Web sites.
BBC Radio
Homepage: www.bbc.co.uk/radio
Use the BBC Radio Player to listen to anything on the British
Broadcasting Network live or hear archived shows for seven days
after broadcast.
Lagniappe
Broadcast Network: www.lagniappe.la
DJ Good Rockin' Derral's suggestion: a collection of cool Web
stations out of New Orleans.
Epitonic:
www.epitonic.com
"Your source for cutting edge music" streaming tunes
and downloadable MP3s from a wide range of independent artists.
-- BOB DORAN
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