Compared to other internet files, AV files are very large. At first, AV was delivered in the same manner as all other files. The user would download (receive) the entire file from a central computer. This method is still used with high quality compression (for example, MP3 files). But sending the whole file was unacceptable for two reasons. First, it took too long and required too much space on the user's computer, causing the typical home computer memory to fill up quickly. Second, after transfer, the user could keep the whole copy of the AV file. For radio it was not possible to send anything more than simple air checks or short songs, and in any case copyright holders would not allow most songs to be sent.

     In 1995 Rob Glaser and company introduced RealAudio­ later called RealPlayer and RealOne. The concept was simple. The software would download enough of a sound file to cover the difference between the transmission and play speed. A buffer was created on the user's computer and the file would begin to play. Only a fraction of the file needed to be transmitted before the user could enjoy it. The idea was that the file transfer would be completed shortly before the file was done playing. Continuous streaming would come later as bandwidth and compression increased.

     The music industry is working to adopt both models. First, delivering whole files (download) for people to use at will-a sale model. Second, streaming content without giving it to people-a broadcast model. Even if whole files are sent, streaming is often used for more instantaneous delivery of content.

     Because streaming content is expected to be one of the biggest profit centers on the web, streaming providers are engaged in a technology trade war. The system that is accepted by the majority of providers and consumers will be in a very strong position to make money. There are three levels to the competition: players, distribution, and content.

     Streaming media is produced much like any other media. The target player determines how the content is stored and served. The player is the most visible element in the process. In addition to RealPlayer, Microsoft developed its own Media­ Player and Apple added streaming capability to its QuickTime software. Finally, the MP3 compression standard allowed software vendors to create streaming media without aligning themselves with a major corporation. The main differences among these players involve cost, compression, ability, and quality.

     Once produced, the digital file is encoded in one or more of the streaming formats and stored for use by the appropriate server. The server delivers files as users request them. The server may also add visual content such as advertising or graphic illustrations (such as an album cover).

     Continuous programming may be delivered by a never-ending stream or by a playlist format. The latter method sends a list of files to be played rather than a never-ending stream. Playlists may make the entire file available to users, though this is a distinct disadvantage for copyright holders. On the other hand, playlists allow users to skip songs they do not want or to build playlists of their own design.

     The competition in players comes down to a software choice while the competition in distribution mainly concerns hardware. Streaming files are not only very large but are also time­ sensitive. If a part of the streaming content does not arrive in time, the music will stop. Distribution systems have been developed to deliver streaming files without delay. Newer server systems allow on-demand conversion from one streaming format to another. This means the producer needs only store content in one format.

     The first method to assure delivery was to increase the speed of delivery. Standard telephone modem delivery-the most widely used form of hooking up to the internet-has peaked at about 56,000 bits per second. Broadband delivery systems for home use are becoming increasingly available, but they are more expensive. Rollout is slow and not nearing the level required for entertainment media.

     The second method is to push content closer to potential users. In 1999, companies such as Akamai Technologies and Digital Island built additional internet connections designed only to transfer streaming content. Some networks stored copies of popular media in regional servers to reduce the distance to home users. The idea was to keep the content close to users and reduce the delay caused by network transfer.

     A third method is called multicasting. In traditional (unicast) distribution, a separate file was sent to every requesting receiver. When the Clinton Impeachment hearing was put on the web, thousands of people wanted the same file. If the file were three megabytes in size and 100 people wanted to get it at the same time, the network would have to accommodate a 300- megabyte transfer. In multicasting, one copy of the file is transmitted to a large number of users. Then the transmission would be a little more than the original file size. Multicasting has been hurt by the lack of standards and network compatibility.

     Content providers have been working to fill streaming media. By the end of 2000, there were nearly 4,000 internet radio sites worldwide with nearly half that number in the United States. Music content led the way since it could be enjoyed before true broadband capacity could be delivered. Most were still seeking a successful means of generating revenue. Along with the search for programming came issues of copyright and payment. ASCAP and BMI created internet payment models in 1998. At about the same time, the Recording Industry Association of America (RIAA) began separate negotiation for web content payments. Their efforts resulted in successful lawsuits against MP3.com and Napster. The continuing threat of lawsuits based on the Digital Millennium Copyright Act (1996) caused most content providers to refocus their market. Pure streams of broadcast content nearly stopped in favor of copyright free content-usually new artists or in promotion of traditional media products. Eventually, a compromise will be worked out. Major media companies (especially music companies) are developing their own distribution systems so that both content producers and distributors will profit when the copyright issue can be resolved.

     Content providers faced a second challenge in the early 2000s as the dot-com bubble burst. Unlike most player and distribution companies, many content providers did not have a second line of income and failed as online companies. Most players were supported by major software or hardware platforms. While distribution systems often saw corporate reorganization, broadband delivery was still seen as an acceptable investment by cable television and telephone companies. And new delivery systems show great potential including those that deliver to cellular phones, handheld players, and smart cable television boxes.