Welcome

Thank you for your interest in SWCast Network!

This guided user tutorial will instruct you on how to start a personal Internet radio station quickly, legally, and affordably.

Click Next when you are ready to begin.

Table of Contents

• Shaping the Future of Radio
• Preparing Your Music
• Broadcasting from Your PC
• Broadcasting through a Stream-Host
• Countdown to Airtime
• Performance Licensing 1-2-3
• Getting Onboard SWCast Network

Shaping the Future of Radio

Congratulations, on taking the exciting first step toward becoming an Internet radio broadcaster!

In a matter of hours you can be on-air showcasing your personality talents and your unique library of music. It is quick, legal, and affordable.

This guide will show you step by step everything you need to know to get started in shaping the future of radio!

Preparing Your Music

Rip and Encode Your CD Library

If you are planning to feature any music on your station, you'll need to rip those tracks from your CD collection onto your hard drive. There are many automated software packages for this purpose. Some considerations include

• AudioGrabber
• MP3Producer

It is recommended that you always encode in MP3 format, 128 kbps, joint-stereo. Also, be sure to verify that your files are properly ID3-tagged using an online song database (ID3 tags are the information that is stored within the properties of each MP3 that identifies the artist and title).

Preparing Your Music

Installing the Media Player

You will need to download and install a media player that allows automating or programming of a playlist of MP3s.

WinAmp is the recommended choice for Windows because it is free, it already has a very large user base and support network, and it includes many of the necessary add-ons for broadcasting.

Download the latest version of Nullsoft WinAmp here.

Preparing Your Music

Compiling a Basic Playlist

A playlist will be used to sequence the playback of MP3s on your station. A playlist can be either randomly or manually sorted. To start, we will simply create a brief 5-song music program.

Note: For your actual radio station, your playlist will need to comply with certain legal requirements in terms of rotation length and repetition of artists and albums, but for purposes of example we are ignoring those rules for now.

Preparing Your Music

Compiling a Basic Playlist (Cont'd)

If WinAmp is not already running, then open it now. You may hear a brief llama-related welcome message, then the player will stop.

Next, bring up the Playlist Editor by pressing ALT+E.

You should be presented with an empty playlist window. If any tracks are shown, then simply click on the 'REM' button in the window's lower left corner and select 'REM ALL' to clear them.

Preparing Your Music

Compiling a Basic Playlist (Cont'd)

Go to Windows Explorer and locate the directory with the MP3 files that you ripped from CD. Select five of them, and drag those into the WinAmp Playlist Editor Window.

As shown below, you should now have a list of tracks in your playlist and ready to go.

Preparing Your Music (Cont'd)

Installing the Transcoder Plugin

A transcoder is a plugin that runs alongside your media player, re-encoding the MP3 files as they are played from your hard drive and sending that live audio feed to your broadcast server.

The transcoder for WinAmp is known as the SHOUTcast DSP and includes many additional features such as realtime microphone voice overs and live soundcard input all from within WinAmp.

Download the latest version of Nullsoft SHOUTcast DSP here.

Broadcasting from Your PC

Evaluating Bandwidth and Security

Next, you must determine if your ISP provides you with sufficient bandwidth to transmit a broadcast directly from your PC. Also, it is very important to ensure that your firewall supports incoming connections to ports on your private network and your PC.

If either of these answers is no or if you are uncertain, then you should skip to Broadcasting through a Stream-Host.

Broadcasting from Your PC

Evaluating Bandwidth and Security (Cont'd)

Keep in mind, some domestic cable/DSL service plans don't allow subscribers to operate their own public servers without consent. So, be sure to contact your ISP before proceeding.

However, if you want to save on stream-hosting costs or if you need to have greater control over your broadcast, then you can easily setup and operate a server through your LAN.

Broadcasting from Your PC

Installing the Broadcast Server

The SHOUTcast DNAS is the server software that transmits your audio streams and manages the player connections.

In most cases a stream-host would provide both the server and bandwidth. However, since you are bypassing that step, it is necessary to install and configure your own SHOUTcast DNAS.

Download the latest version of Nullsoft SHOUTcast DNAS here.

Broadcasting from Your PC

Installing the Broadcast Server (Cont'd)

Once you have installed the server software on your computer, it needs to be properly setup. The configuration file is named "sc_serv.ini" and is usually located in the directory where you installed the program. Open the file in a text editor like Notepad.

Broadcasting from Your PC

Setting Up the Broadcast Server

The most important settings to change are the administrator password (Password), the maximum number of simultaneous connections (MaxUser), and the port where the source feed will connect (PortBase). If you are not sure what values to enter, it is recommended you keep the defaults!

Broadcasting from Your PC

Setting Up the Broadcast Server (Cont'd)

You are now ready to start the server. Open 'sc_serv_gui.exe'. A window will appear with several lines of diagnostic output.

The SHOUTcast DNAS is now idle and awaiting connection by a source. Proceed to section Countdown to Airtime.

Broadcasting through a Stream-Host

Most stream-host providers specialize in managing servers and networks for streaming audio. While it is not always necessary to go with a stream-host provider, in many cases the administration and management of a large-scale broadcast will necessitate it.

The costs involved in this route are based on the maximum number of simultaneous listeners and the maximum bitrate of your stream. Try to determine these two figures beforehand.

There are various providers that offer package deals and special discounts, so it is always worthwhile to investigate a few options before making a final decision.

Broadcasting through a Stream-Host

Testing Your New Account

After purchasing a stream-hosting account, you will be provided two sets of information about your broadcast server:

• Address and Port
  You need these to connect to your server. This is also the tune-in location for your listeners.
• Administrator Password
  Keep this in a safe place. It is used to monitor and control your server from the Web.

With the above information, you can verify that your server is operating correctly. Open a Web-browser and enter the following URL into the Address field:

http://[Address]:[Port]/

Replace [Address] and [Port] with the appropriate values.

Broadcasting through a Stream-Host

Testing Your New Account (Cont'd)

A site resembling that shown below will appear. You are informed that the server is currently down. This is because you have not yet setup the source connection.

Countdown to Airtime

By now you should have a media player installed and a playlist compiled. You also have made the necessary provisions for a broadcast server.

All that remains is to setup the transcoder to supply the source feed to your broadcast server.

Countdown to Airtime

Setting Up the Transcoder

Start WinAmp. Then, press CTRL-P to bring up the Preferences panel. Under DSP/Effect, select 'SHOUTcast Source for WinAmp'.

Countdown to Airtime

Setting Up the Transcoder (Cont'd)

A new window will appear with a variety of options. The tabs to be most concerned about are 'Output' and 'Encoder'.

Countdown to Airtime

Setting Up the Transcoder (Cont'd)

First, click the 'Output' tab, and locate the section titled 'Output Configuration'. Enter your server details including the address, the port, and the password into the appropriate fields.

Countdown to Airtime

Setting Up the Transcoder (Cont'd)

If you are using a stream-host provider, then you should use the information that was supplied to you. However, if you have the SHOUTcast server on the same machine as the transcoder, type "localhost" for the address and enter the assigned port number and admin password.

Caution: In both instances the port number for the source connection will always be one more than the main port number.

Countdown to Airtime

Setting Up the Transcoder (Cont'd)

Second, click the 'Yellowpages' button, next to the 'Connection' button. You should see details that pertain to your listing in the SHOUTcast YP (the directory of stations on www.shoutcast.com).

You can leave many of these settings as they are. However, be sure to check 'Make this server public' and 'Enable Title Updates'.

Countdown to Airtime

Setting Up the Transcoder (Cont'd)

It is also recommended that you change the 'Description' field to something more informative, preferably a brief title for your new station. Of course, you can always change this and the other details later — once you are ready to go live!

Countdown to Airtime

Setting Up the Transcoder (Cont'd)

Lastly, click on the 'Encoder' tab. Select your prefered bitrate and sample-rate. These choices affect the quality of the stream, so carefully consider the bandwidth available to your listeners (and to you as well) when changing the bitrate. Sampling-rate should always be a multiple of 11,025 Hz to ensure compatibility with all major soundcards.

Countdown to Airtime

Starting the Source Connection

Once you've finished updating the output and encoder settings, the SHOUTcast DSP will automatically establish a connection with the server. If it does not, simply click the 'Connect' button.

You will soon see the message 'Source stream connected' appear in the window. No data is being sent, because you haven't played any music yet.

Countdown to Airtime

Putting It All to Work

If the Playlist Editor is not already visible, open it now by pressing ALT-E. Now press the play button in the main WinAmp window or simply press X. The first track in the playlist queue will start and 'bytes sent' will appear in the SHOUTcast DSP window.

Congratulations, you are officially on the air.

Performance Licensing 1-2-3

Basics of Copyright Law

By purchasing records and CDs, you have the right to enjoy them at your leisure whether in the privacy of your home, in your car, or through a portable player. You can rip the CDs to your computer, transfer them to a personal MP3 player, or burn them back to a CD-R in the form of mix compilation.

However, while your personal enjoyment of purchased music is protected under the principle of fair use, you don't have the right to perform that same music in the presence of a public audience.

Performance Licensing 1-2-3

What Copyright Protects

Copyrights exist to protect the creators of original artistic works from certain types of unauthorized uses, and to provide the creators with several "exclusive" rights of ownership in that work.

Some of these exclusive rights include:

• Public performance rights
• Adaptation rights (creating derivative works)
• Reproduction rights (creating fixed copies of works)
• Synchronization rights (adding visuals to music)
• Publication rights (sale, lease, and lending of works)

Any or all of these rights can be assigned or licensed by the copyright owner to another individual.

Performance Licensing 1-2-3

What Copyright Protects (Cont'd)

Every time that you pick up a CD or a record, there are two basic copyrights represented: the sound recording and the underlying musical work. You do not acquire ownership in either copyright.

• The sound recording is the phonorecord reproduction in which sounds have been fixed for playback.
• The musical work is the music composition itself arranged in the form of both notes and lyrics.

Performance Licensing 1-2-3

Obtaining Public Performance Rights (Cont'd)

As mentioned previously, public performance is an exclusive right. Therefore, you must acquire licenses before publicly performing any sound recordings and musical works over the Internet.

Unfortunately, this also necessitates contacting every respective copyright owner, agent, or representative. In most cases

• Music publishers represent the rights in the musical works
• Record labels represent the rights in the sound recordings

Contrary to popular belief, performing artists rarely have any ownership in the sound recordings, but rather they are under contract by a recording company, that is "work made for hire."

Of course, the situation becomes further clouded when musicians produce and release their songs independently or underground, in which case it may be almost impossible to procure a license.

Performance Licensing 1-2-3

Obtaining Public Performance Rights (Cont'd)

Music licensing on a case-by-case basis can be complex even if your radio station has a small audience or limited music library.

Furthermore, if you have little or no experience negotiating contracts, you will lack the assurance that any record label or music publisher will even issue you a license nor that the contract will grant the terms and rates that are reasonable to you.

Performance Licensing 1-2-3

Compulsory Licensing Explained

Fortunately, there exists an alternative in the form of compulsory licensing. A compulsory license is an amendment to the Copyright Act enacted by Congress with provisions intended to enable use of musical works and sound recordings based on statutory rates and terms and on a non-discriminatory basis that predominate a copyright holder's exclusive right to public performance.

Compulsory licensing exists to maintain a reasonable balance between both the interests of the copyright owners to control their works and the interests of the public to use those same works for creative or constructive purposes.

Performance Licensing 1-2-3

The Performing Rights Societies

In the United States, there are three established societies of music composers, authors, and publishers which exist for the purpose of administering compulsory licenses, including collection of license fees from music users and subsequent distribution of royalties to all of their member copyright holders.

• ASCAP
  American Society of Composers, Authors, and Publishers
  http://www.ascap.com/
• BMI
  Broadcast Music, Inc.
  http://www.bmi.com/
• SESAC
  The Society of European Stage Authors and Composers
  http://www.sesac.com/

Performance Licensing 1-2-3

The Performing Rights Societies (Cont'd)

Due to the sheer depth of the ASCAP, BMI, and SESAC reportories — which comprise everything including modern day hits to classics from decades gone by — these three agencies alone will typically cover most of the musical works that you intend to broadcast.

However, the licensing rates and terms that a small Webcaster may face can be daunting. The BMI license alone starts at $285 annually and requires filing ongoing reports of music use, Website traffic, and revenue which are factored into the final license fee.

Performance Licensing 1-2-3

The Digital Millennium Copyright Act

The DMCA (or Digital Millennium Copyright Act of 1998) is the most significant new amendment to U.S. copyright law. It was drafted in response to concerns from copyright holders about the impact of digital technologies on their products in the marketplace.

Prior to the DMCA, there existed the Digital Performance Right in Sound Recordings Act (DPRA). However, the DPRA had its own shortcomings, the most obvious being that it didn't specify how copyrighted works in general were to be protected through newly emerging digital devices, media formats, and the Internet.

Performance Licensing 1-2-3

The Digital Millennium Copyright Act (Cont'd)

The RIAA (Recording Industry Association of America) had the greatest impact upon DMCA legislation. Record companies saw growth potential in new digital broadcast mediums (satellite, cable, and Internet radio), and they wanted to cash in on the emerging opportunities.

But the RIAA had very real apprehensions about digital music formats: Near-perfect sonic accuracy between playback and recording and potential for illicit reproduction and distribution.

Performance Licensing 1-2-3

The Digital Millennium Copyright Act (Cont'd)

Based on such concerns, the U.S. Copyright Office saw it fit to finally amend the Copyright Act to both recognize an exclusive right in public performance for sound recordings over digital broadcast transmissions and to preclude circumvention of anti-piracy controls placed within any digital medium or device.

Prior to the adoption of the DMCA, public performance of sound recordings wasn't an exclusive right. In other words, compulsory licensing existed only to protect songwriters and publishers, but there was no law in place to allow performing artists nor record companies to seek royalties from public performance.

Performance Licensing 1-2-3

The Digital Millennium Copyright Act (Cont'd)

Of course, the RIAA's almost surreptitious involvement in the creation of such a powerful new legal instrument impacted many long-established rights of music consumers, and in particular imposed great burdens on the small Webcaster community.

As a result, since being signed into law by President Clinton in 1998, the DMCA has been met with nothing short of criticism and controversy by the public at large.

Performance Licensing 1-2-3

The CARP Proceedings

Prior to 2004, the rates for Webcasters under the DMCA were decided through a public deliberation process known as the CARP, or Copyright Arbitration Royalty Panel.

The CARP would meet periodically, under the auspices of the U.S. Copyright Office, allowing specified parties to negotiate new requirements for compulsory licensing of Webcasts.

SoundExchange was then created by the RIAA to manage the collection of licensing fees from Webcasters and distribution of royalties to the respective record labels and performing artists.

Performance Licensing 1-2-3

The CARP Proceedings (Cont'd)

There are currently two sets of rates that apply to Webcasters today, the first which was established based on the recent CARP proceedings and then amended by the U.S. Copyright Office, and the second which was devised by the Webcaster community in cooperation with the RIAA. This came to be known as the Small Webcaster Settlement Act of 2002 (SWSA).

The CARP rates, were immediately overwhelming for most small stations because the fees were calculated based on the number of songs performed. The SWSA, however provided for a more reasonable revenue-based fee.

Getting Onboard with SWCast Network

You now have everything you need to broadcast to the world!

SWCast.net makes it easy. We give you a personal station page and directory listing so that listeners can easily tune-in. We also provide you with the clearance you need to broadcast your music collection over the Internet. We want you to be legal!

Signing up for Personal Broadcast Services is easy. Just visit our Website: http://www.swcast.net/broadcast/

We look forward to having you onboard with us soon!

Conclusion

This completes the tutorial. If you have any questions or need further assistance, please visit the SWCast.net Support and Feedback forum. Thank you for choosing SWCast Network.

Copyright (c) 2005-2006, SWCast Network, Inc.

All rights reserved. No part of this publication may be reproduced, redistributed, or retransmitted in any form or by any means whatsoever without the prior written consent of SWCast Network, Inc.

SWCast Network is a registered U.S. trademark. All other trademarks referenced herein are the property of their respective owners.