Music streaming and downloading an introduction Richard Ranft

Music streaming and downloading: an introduction Richard Ranft The British Library Sound Archive IAML Annual Study Weekend – April 2006

n Principles: file sizes, audiences, copyrights n Audio file types n Preparing sound files n Delivery methods n Examples 2 2

Digital audio n “Music is a time-frequency wave function with tonal qualities pleasing to the human ear” – ALICE n Digital audio files are large… n In a simple text file (Windows Notepad), one character or space requires 1 byte storage n The 325 letters and spaces on this page occupies 325 bytes n This same text as recorded speech = 1, 000 x larger 3 3

File sizes & data rates n 8 bits = I byte n Data storage sizes measured in bytes n n CD 650 MB 1 minute @ CD quality ~ 10 MBytes Typical desktop computer hard drive 60 GBytes Data transfer rates measured in bits per second CD quality stereo 1, 411 kbit/s Modem connection up to 56 kbit/s Broadband connection from 256 kbit/s LAN from 10 Mbit/s 4 4

A quart into a pint pot n Downloading n n Playback cannot start until entire file received by user Playback is continuous (no buffering) Transfer high quality, uncompressed files Compression Lossless compression, e. g. MLP, FLAC, 50% reduction Lossy compression (“data reduction”), e. g. mp 3, AAC, Real. Audio, >80% reduction n Used for streaming media n n n Streaming n n n Fast delivery, but lower quality than downloading Useful for previewing Instant playback: plays when you click Can use to discourage copying Buffering: used to control network interruptions Live streaming used in ‘broadcasting’ radio shows 5 5

Your audience n Why deliver sound? n Who are your audiences? n What content do want to deliver? n How to deliver content? n Accessing the content n Rights issues 6 6

File types n Uncompressed files WAV n AIFF n 3 -minute song (32 MB): several hours to download over modem n n Compressed files n n n MPEG-1 layer III. mp 3 (typically 10: 1 compression at 128 kbps) Ogg Vorbis. ogg Quicktime Windows Media Audio. wma Choice of bitrates 7 7

Preparing files n Master files v. access files n Digitisation & editing Use high quality files during preparation n Edit with e. g. Wavelab (Steinberg), Adobe Audition (Adobe), n Sound. Forge (Sony), Audacity (freeware) n Conversion from WAV to access version file Batch conversion tools n Batch renaming e. g. Rename 4 u n n Upload to server 8 8

Delivery n Simple web page n Choice of file types and qualities n Streaming & streaming servers n Podcasts n Preventing piracy: n Use short samples or low resolution n Watermarking, encryption, streaming 9 9

www. arkive. org 3 file types offerred (with video), each at 2 bitrates 10 10

Click to add title Cylinder Preservation & Digitization Project: http: //cylinders. library. ucsb. edu 3 file types offerred: Quicktime for streaming; mp 3 and wav for downloads 11 11

Examples n British Library Sound Archive 5 million recordings: musical works, interviews, recordings of plays and poetry, wildlife sounds, oral history, sound effects n 580, 000 hours (excluding second copies) n 12 12

66 years non-stop listening n 6 years added per year n n Most of the recordings are in copyright 13 13

Access n Access: CD publications, exhibitions & talks, radio broadcasts, copying service; listening services n - where rights can be cleared, or where BL owns rights 14 14

n Listening access in three arenas: n Off site, all web users, via BL website n n Off site, selected web users, to FE & HE communities in the UK n n Collect Britain (1, 400 sounds), plus 800 other sounds, where copyright permissions have been granted or are in public domain (older than 70 years). Archival Sound Recordings Project: 12, 000 sounds by September 2006. On-site access n unrestricted (3 million sounds…) 15 15

www access to British Library sounds n Before 2006: Real. Audio streaming format n n n Now: WMA streaming using MMS n n Real. Server Surestream Windows 2000 server software 45 simultaneous users, but can accommodate many more 400 GB server storage capacity Downloads not yet available n Mp 3 downloads of Archival Sound Recordings Project recordings from September 2006 16 16

www. bl. uk/nsa 17 17

18 18

On-site access n n n n For IPR reasons, continuing requirement to provide on-site access Manual Listening & Viewing Service, appointments-based Many recordings too fragile to be handled by listeners Headphone listening in soundproof study carrels Limited number of carrels Cannot meet increasing demand from playwrights, media researchers, oral historians, musicologists, etc Risk of handling damage 19 19

Sound. Server n A new service, providing instant access to many sounds in selected Reading Rooms n Access to digital surrogates of recordings stored on webserver n ‘Point & Click’ delivery from selfservice workstations in reading rooms n Use of ‘leak-proof’ self-muting headphones on selected Reading Room terminals 20 20

How does Sound. Server work? n Staff receive request for CD listening n On-demand encoding to mp 3 files n Files transferred to Windows 2003 server n Personal playlist created by staff using a web form n Playlist links to mp 3 s and to Sound Archive catalogue n Listeners wait 5 working days for pre-ordered custom playlists n Listener accesses their personal list via Reader number n Sounds relayed over 100 Mbps network to Media Player Classic player on web browser 21 21

Sound. Server: benefits n Removes need for appointments n Semi-automated service - listener-controlled playback n Potentially many simultaneous users n Increasing on-line data bank of audio n Reduced wear on collection items n Entire Sound. Server collection accessible to any visitor via ‘Jukebox’ pages n Runs in parallel with existing appointments service, using existing staff resources n Low cost: capital costs of £ 14 k for server store, headphones & 2 workstations, but rest of service uses existing simple, lowcost technology, & existing staff 22 22

Sound. Server: disadvantages n Lower sound quality of surrogates – but acceptable to most users n Highly dependent on IT infrastructure/reliable network to add and access content n Users wishing to read sleeve notes and view artwork must still make an appointment – but audio-only access acceptable n Need to continue existing appointments-based manual service in parallel for ‘difficult’ audio formats and for sleeve notes and video viewing. 23 23

Progress so far n Nine PC terminals n Currently limited to CD recordings n A growing collection - now 3, 000 recordings accessible by any readers browsing the Jukebox n - including our most frequently requested items n Feedback from listeners is very positive 24 24

Sound. Server developments n. Extra Sound. Server terminals in reading rooms and in public areas of building n 100, 000 n. Adding files in 4 years e. g. BL CD publications: ‘try before you buy’ n. Integration with other electronic audio resources, other BL electronic resources (e. g. Oral History transcripts, Naxos on-line library) n. Introduce improved playback facilities (bookmarking, saved searches) n. Submitting playlist requests via a webform 25 25

26 26

27 27

28 28

Growth in listening and viewing use 29 29

Click to add title Thanks for listening. Questions? 30 30