Webcasting & streaming (history)

Webcasting & streaming
Eminem and crew at the Astoria

Over the years Gavin has run a large number of webcasts – from being the tech infrastructure to behind the camera or mixing desk, to running music and streaming at Virgin Net, to creative director, to running his own companies.

While most is media-based, some of the more important work included UK Prime Minister Tony Blair’s announcement of the Iraq war for Number 10 (before the news was released to the media) and Morgan Stanley’s disaster recovery webcasts after 9/11.

Eminem and crew at the Astoria

Even before streaming existed as an idea, Gavin was involved in what was then called “real-time audio over the internet” in 1992-94 at Glasgow University’s music department – running a network of 40 NeXT machines across three sites and developing virtual reality audio tools (resulting in AES and ICMC papers in 1994).

Virgin Net (1995-1999)

After joining Virgin Net in 1995 as employee #5, Gavin put the first live simulcast (concurrent to national FM) webcasts online for UK radio stations:

StationYearNotes
Virgin Radio1996The first service of its kind in Europe (1995 beta, 1996 launched). In 1997/98 added on-demand listening to the Chris Evans show after broadcast – now called podcasting.
Classic FM1996Live-streamed via the same Virgin Net servers, which Gavin set up and ran for 4 years.
Kiss FM (Kiss 100)1996Live-streamed via Virgin Net servers. Later at Tornado, the full Emap portfolio of 13+ UK regional stations was added.
Virgin Net Radio Tuner c1996-97

Virgin Net Radio Tuner, c.1996-97

This laid the groundwork for launching the streaming radio tuner on Virgin Net in 1997 – linking Virgin Net with over 30 stations worldwide (from Brazil to Australia). It rapidly became the second most popular service on the site. In 1998 Gavin added “Release Radio”, Virgin’s own web-only streaming station, and later set it up as the first web streaming service available on a mobile handset on Virgin Mobile (1999).

In 1998, Gavin led putting Virgin Megastores online. He proposed a monthly subscription service for streaming and downloading at £9.99/month, with a tiny Cambridge Electronics MP3 player included (an idea that predated Spotify and the iPod Shuffle by years).

Virgin Net TV tuner

The Virgin Net TV tuner – seems quaint now

In the middle of this, Gavin helped create the European Chapter of the International Webcasting Association.

International Webcasting Association

International Webcasting Association – European Chapter

Live festivals (1996-1998)

Directing, producing, sourcing, managing and implementing:

Talvin Singh, Courtney Pine and Cleveland Watkiss at the Vibe Bar, Brick Lane (1996) One of the first live concert webcasts in the country – around 300 listeners to the 20kbps audio stream. Twenty years later, Gavin was still streaming from Brick Lane (RinseFM was opposite the Vibe Bar until 2016).
NVA Virtual World Orchestra at The Old Fruitmarket, Glasgow (1997) An early stage live webcast with collaborative composition and audio from over 100 countries blended into the live performance, and Stelarc physically connected to the web.
Tibetan Freedom Festival, New York (1997)
Dodgy live from the Brixton Academy (1996)
V97 and V98 music festivals (1997, 1998) V97 was audio-only. Added a backstage chatroom so bands came off stage straight into online chat. Around 30k unique listeners over the weekend. V98 added video of the backstage chat and a roving Nokia 9000 Communicator for fans to chat directly with bands. Green Day trashed the cabin. About 100k unique listeners.

Personal favourites: the live webcast shows of NTK from the Global Cafe in Golden Square, and WebShack on Dean Street.

Webcast-chat

Working with the Virgin Net community team, pioneering the idea of blending webcasting and celebrity chat formats – from formal TV-style 3-camera interviews to Brian May sitting in front of a laptop with a battery-powered guitar.

Tornado Productions (1999-2003)
Tornado Productions

After leaving Virgin Net, Gavin set up Tornado Productions, which he sold in 2003, while continuing “special projects” (including ResonanceFM, Undercurrents and IFIwatch) and streaming continuing after that (including RinseFM).

At Tornado, the full Emap portfolio went online (Kiss 100 and 13 other UK regional stations). Tornado then took on the iconic festival webcasts for Glastonbury (2001-2004) for Playlouder and the BBC, and Reading Festival (including the AOL backstage tent). Glastonbury won “Best use of Broadband” in the UK in 2001 and the weekend audience grew to around 700,000 – until the BBC took it back in-house.

Music webcasts led by Tornado:

Eminem (London Astoria, 2000)
Robbie Williams and co. – Ian Dury benefit, Brixton (2000)
Paul Weller (Royal Albert Hall, 2001)
Genesis (from their producer’s kitchen, 1997)
Skunk Anansie (Manchester Apollo 1998; London Astoria 1999)
Add N to X (London Astoria, 1998)

Non-music and corporate webcasts:

Rugby World Cup at Twickenham (1999) – including a “pubcast” video fanzine for sportal.com
Lady Diana memorial cricket match at Lords (1998) – live, with the BBC’s Jon Agnew and Peter Baxter
Logica & CMG: merger announcements and corporate communications
Shell Plc: end-to-end corporate communications
Rolls Royce: internal communications and masterclasses
Merrill Lynch: communications strategy
Cisco Systems: global video webcasts for IPTV
Christian Aid – self-publish video from any location (2001)
Tate Modern: indexed, searchable video using DreMedia/Autonomy (2002)

“Tornado is a professional, experienced entity and a valued partner.”

Yahoo! Broadcast

“Tornado processes, staff, technology and above all customer focus all operate at the highest level.” (I like that actual rocket scientists thought we had good processes.)

Loral Cyberstar
Tech and media language
Webcast

From about 1996: audio and/or video, plus images/photos, plus editorial, plus some kind of user-engagement (e.g. chat) around a specific event. Superseded by “live streaming” as a popular term, though streaming actually just describes the technology.

Streaming

Tries to match the quality of delivery to available network capacity in realtime. If bandwidth drops, quality goes down. Doesn’t store the file locally – data is received, played and thrown away. Most media should/will be streamed given continuous trends to higher bitrates and the need for scalable network management.

Live vs on-demand

Webcasts are usually a live stream with a strong on-demand archive component. Depending on the event, 90% of the audience will be on the live piece, or 90% on the post-event output. For big music events it’s usually 50:50.

Related histories

See also: Tornado Productions history and the full archive