The Anatomy of a Webcast
[ Feature - March 1999 ]
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On a wet and windy Monday night in San Francisco Sy Klopps
Studios (a full digital audio facility wired to the Internet)
hosted the first live webcast by members of the Grateful Dead.
Playing as The Other Ones, the band used the event to kick off
the release of their first album: "The Strange Remain." The
physical site of the webcast, housed within a large building
belonging to Nocturne Productions (a respected video and lighting
house for live events) is a musician/engineer/producer's dream
playpen. Besides being decked out with acres of wall-obscuring
classic rock paraphernalia and gold and platinum records, the
rooms are packed with high quality audio toys for musical
creation and production. The studio is 32-track digital (four
ADAT decks, an Otari Status 18R desk, a small wall of Focusrite
and other processing, etc.). The performing area contains an
inspiring array of musical instruments and amplifiers. There's
around ten pre-CBS Fender Stratocasters, several varieties of
old Gibson Les Pauls, various other acoustic and electric
guitars and about 40 vintage instrument amplifiers including
Fender, Gibson, Gretsch, and Silvertone. One bass (a Fender,
of course) and one bass amp (an SVT, surprise!) cover the needs
of the bottom end. There's a white DW trap kit behind a
Plexiglas baffle, a baby grand piano and, to top it all off,
a genuine Hammond B3 organ. All of these tools and toys are
carefully and artfully arranged within an open and spacious
environment. And the whole place is wired with a T1 line for
data transfer and an ISDN line for those special dialup occasions.
Right now, the environment is buzzing with activity. A handful
of people watch or work, some huddled over computer and audio
gear, intent and focused and the task at hand. When Bob Weir
and Mickey Hart (guitar and drum respectively from the Grateful
Dead) stroll in, along with Dave Ellis (saxophone from the
Charlie Hunter Trio) and Mark Karan (guitar) the mood cranks
up a notch. Mickey keeps it playful by leaping on the drums
and playing a simple beat, smiling and chanting unintelligible
rhythmic noises. Everyone laughs. The remaining members of
The Other Ones, Phil Lesh (bass from The Grateful dead), Bruce
Hornsby (keyboards), Steve Kimock (guitar from Zero) and John
Molo (drums) are not in attendance but there's enough of the
band to play a quick rendition of "Friend of the Devil." The
webcast has begun.
After the song the band members sit with interviewer Steve
Silberman (author of "Skeleton Key - A Dictionary for Deadheads")
and answer questions from fans around the world. The band
relaxes on a square brown leather sectional sofa in front of
a large painting of the cover of the album being promoted. On
either side large color video monitors display an endlessly
cycling psychedelic montage. Color-corrected lights bathe the
area in a warm glow.
In front of the stage area five Betacams record the chat and
typists transcribe the Q&A for those who are connected in the
chatrooms. It's a relaxed, friendly atmosphere. The band
responds with generous attention, clearly appreciative of their
fans. Queries come from previously reviewed and edited emails
and in real time from both the Internet and a live chat room
hosted and promoted by AOL. A transcript of the chat is fed
onto the event web site and into a IRC (Internet
Relay Chat) chat room. The interviewer takes the questions,
relays them to the band and the responses are typed in real-time.
The entire interview is available as scrolling plain text,
streamed audio only or streamed audio and video in two formats.
Because this event is a first on so many levels a lot of people
are involved. In fact, a pretty complex dance of disparate
organizations is required to make it happen. Some of the groups
participating are: Grateful Dead Productions, Inc., Evolve
Internet Solutions, Nocturne Productions, Sy Klopps Studios,
ISP Networks, SRA Networks, Ice Nine Publishing, LiveConcerts.com,
MP3.com, America Online, LiquidAudio, Rolling Stone Online,
Cutting Edge and Netopia.
The audio signal path goes like this: After traveling from a
mic to the Otari desk in the studio (now doubling as an audio
broadcast production suite), a stereo signal is sent to the
ubiquitous Mackie 1202 mixer in the Web production room
(downstairs and about 80 feet of cable away). Stereo feeds
from the Mackie go to L/R XLR inputs on the Cutting Edge
Omnia.net processor (reviewed elsewhere in this issue) which
optimizes the signal for streaming over the Internet. The
Omnia's processed stereo output is then fed back to the Mackie
(again L/R XLR connections) and from there the signal travels
to a little Radio Shack distribution amplifier that splits it
into three feeds. One feed for each of the three Window-based
PCs encoding and streaming the audio to powerful remote servers
that can handle tens of thousands of streams simultaneously.
Because three specific streams are provided three individual
computers must be used. One computer streams 56kbps RealVideo
(which includes audio), another streams 28kbps RealVideo (with
audio) and the last streams only 28kbps RealAudio (all audio
streams are mono - this is a chat, after all). Windows machines
are used because they tend to be a more stable environment when
encoding with RealNetworks products. The three streams travel
over the facility's direct dial 128kbps ISDN connection to a
server infrastructure in Seattle, WA, hosted by LiveConcerts
and Real Broadcast Network (RBN). RBN is a joint venture
between RealNetworks and MCI to serve large numbers of simultaneous
streams.
To get online fans to participate press releases were distributed
and announcements were made on
<www.dead.net>, mp3.com, Rolling
Stone Online, and Wired news. Of course the most effective
promotion is the fabled word of mouth network of the Dead
community. At the appropriate time fans landed on The Other
Ones event web site and followed a link which offered a choice
of streaming formats. Afterwards the event was archived for
anyone who missed it live.
Besides being the first time that members of The Grateful Dead
performed live on the Internet, it was the first time a bonus
track was made available as a free download to promote their
album release. A file of The Other One's version of "Mississippi
Half-step" (a classic Garcia/Hunter tune) was made available
in both MP3 and LiquidAudio formats from a variety of web sites.
The actual album was also available as a mail-order purchase
for online fans a week before it hit the stores.
Is all this time and effort worth it? Naturally the value of
anything depends on what the expectations are. Were The Other
Ones interested in bolstering their emailing list? At last
count over 2,000 addresses were added as a result of the event.
Was the band interested in promoting album sales? Over 3,000
copies of "The Strange Remain" were sold by mail order prior
to the album's release in stores (another first: during that
week The Other Ones took more album orders via the Web than
the 800 number). Did they want to make their fans happy? Over
20,000 downloads of the bonus track occurred in the one week
period surrounding the webcast. Clearly it was a success by
any number of standards. During the event the site received
over 318,000 "hits." Over 28,000 streams of the 30-second
excerpts from the album were recorded. There were even another
22,000 streams played of Bob Weir and Mickey Hart's pre-recorded
audio invitation. And, less easy to measure but still relevant,
the outpouring of positive feedback via email from fans to the
band (and all involved) is certainly gratifying.
This new-media promotional event, though still in its infancy,
shows great promise as a mainstay of any musician's attention-getting
arsenal. It's well known that the community surrounding the
Grateful Dead have long been active on the Internet (The Dead
was the first band-specific Usenet group) and that fans of the
band are ahead of the curve when it comes to grassroots support,
both traditional and online. The success of this live webcast
and the excitement of both the old-school rock establishment
and new-model Web-enabled people points toward expansion in
the field. The geeks and the freaks found another common ground
in the place where Cyberspace meets Steal Your Face. We all
benefit.
An archive of the event remains online at
<otherones.chime.com>.