etree, or electronic tree, is a music community created in the summer of 1998 for the online trading of live concert recordings. etree pioneered the standards for distributing lossless audio on the net and only permits its users to distribute the music of artists that allow the free taping and trading of their music.[1]
etree.org was created because collectors and curators of live music recordings historically faced four related problems:
First, a problem common to all curators: source material degrades over time. In particular, the magnetic audio tape used to make many live audio recordings physically decays and, as it is repeatedly played back, loses its clarity.[2] Preserving musical source material, therefore, meant restricting access to it. As a result, archival music may have been preserved, but it was not being heard by anyone.[3] Similarly, individuals who possessed live concert recordings were typically unable to store them appropriately (in climate controlled, fire-safe storage, for example) and/or they lacked the ability to make copies for archiving and preservation. Essentially, the musical history of 20th century concert performances was being lost, locked up in vaults or decaying in attics and living-room bookcases.
Second, copies of analog recordings tend to degrade when copied due to the introduction of hiss or "noise" inherent to the use of magnetic tape. As a result, no two copies are identical, and each copy, or generation, sounds inferior to the generation preceding it.
Third, given the pre-Internet nature of exchanging live recordings (described below) and the fact that the right to copy many such recordings was or is quasi-legal, the provenance, or "lineage" of many recordings was poorly documented. Even today, historians and collectors find much confusion as to date, venue, setlist, etc., in early bootleg recordings. Curators and collectors searching for source material, or simply the best-sounding copy of a concert recording, were required to spend considerable time accumulating multiple copies of the (supposedly) same material, comparing recordings, following up with sources, etc. The presence of fraudsters, commercial bootleggers, and other criminals in this area did not help.
Finally, as a matter of historical preservation, the existence of a single copy of an historical object (whatever it may be) presents a significantly greater risk that the object will be destroyed, damaged or lost than if multiple copies of the object exist. Archivists, therefore, prefer to distribute copies of historical material as widely as possible, to reduce the risk that all copies are destroyed and the object be lost forever.
By the late 1990s, mechanisms for capturing or transferring recordings to the digital domain were well-developed. Digital, magnetic formats and media like pulse-code modulation (PCM) and Digital Audio Tape (DAT), or optical media like compact discs (CDs), and other types of digital storage, permitted archivists to record concerts in a manner that reduced or eliminated the degradation of source material when played back or copied. Copies of such recordings could be made that were exact duplicates of the original recording, and such copies do not exhibit degradation in the way that analog audio tape does. Thus, today, digital recordings are typically made to DAT, optical disc, or to hard drives, flash memory, and other types of digital storage.
The emergence of the ability to transform musical recordings to computer data files (such as .wav and .aiff files, which are containers for PCM data) permitted collectors to verify the identity of duplicate copies of a particular digital, or digitized analog, recording. This is typically done by generating a checksum of the data in a file, usually in the MD5 format, and comparing that checksum to a checksum for another file, or a known checksum of the original file. If the checksums match, the files are identical; if not, then the files are different. Such matching copies are referred to as "lossless" copies (to distinguish them from both degradable media like analog tape, and from file formats like .mp3, which remove audio information in order to reduce file size). Such copies are usually bundled with a text file including information about the recording such as date, venue, setlist, recording equipment used, etc., that reduces uncertainty and error in establishing recording provenance and comparing recording sources.
Distribution of lossless audio data became easier as the Internet developed. Historically, distributing copies of live music to collectors and archivists faced a bottleneck, in that collectors had to find each other and arrange to transfer copies of physical media (discs, tapes, etc.) in person or through the U.S. mail. One way of expediting distribution was to create a "tree" of people, the "seeder" of which would make copies of a "master" recording and deliver a low-generation copy to each "branch" of the tree, the members of which would then pass the low-generation master along to each "leaf" on the tree branch, thus speeding distribution greatly while minimizing generational loss (for analog material). Still, this was slow and liable to fail if a single person on the branch of the tree did not follow through.
The idea of transferring DAT-quality audio files via the Internet – i.e., an "e-tree" – was first discussed in 1996,[4] but it was impractical at the time due to the large file sizes required to keep the quality intact. For example, a 74-minute CD holds approximately 640 MB of uncompressed PCM data, and a two-hour concert would require two CDs. Transferring a single CD worth of data over a dial-up modem takes approximately seven days.
Several developments in computer technology made the fourth factor, the lossless file transfer over the Internet, possible. First, the Shorten (SHN) file format was developed by a company called SoftSound. The Shorten process non-destructively removes extraneous data within PCM .wav files, reducing their size by approximately 45–55% while allowing the resulting SHN files to be expanded to their original form without the loss of any audio data. (The newer FLAC format has largely replaced SHN and is now preferred.) These digital audio files, called “filesets”, are thus bit-perfect copies, identical to their original sources, and can be played on virtually any computer, converted to the appropriate format to be burnt to CD for playback on home stereo systems, or converted to other formats for use on portable music players. Second, the explosive growth of the Internet allowed many more people to set up File Transfer Protocol (FTP) servers to distribute SHN copies of their recordings at high speed to users with broadband Internet connections. Third, mailing lists, e-mail, listservs, etc., allowed collectors and curators to locate each other and material of interest more easily.
Once these events happened, the etree community was formed by members of two highly regarded online music-trading communities; Sugarmegs Audio and PCP (People for a Clearer Phish).[5] Starting with 10 people, etree.org saw staggering growth rate. By February 2001, there were almost 300 independent FTP servers providing the trunk of etree.org to over 12,000 users. Tools for creating, packaging, verifying and fixing lossless filesets were developed, and included programs like mkwACT, Shorten, Shntool, and others.
BitTorrent was written with etree in mind and etree was the only bittorrent listing site linked from the official FAQ for quite some time.[6] As BitTorrent gained in popularity, and as the availability of free, high-bandwidth FTP servers was restricted by universities and corporations, the number of etree FTP servers steadily declined, and by 2004, few remained in active service. Still, etree.org continued to grow exponentially. As of June 2010, there were nearly 400,000 registered users of db.etree.org who have contributed more than 480,000 setlists for 42,000 artists, and helped to distribute more than 90,000 lossless recordings for approximately 140 artists, to the world's cultural heritage through bt.etree.org and other like-minded online communities.
Awards
In 2000 and 2001, etree.org won a Jambands.com Jammy Award, in the "Best Fan Web Site" category.[7][8] These are the first two years the Jammy's were held. Jambands.com stopped giving this award after 2002.
Related Research Articles
An audio file format is a file format for storing digital audio data on a computer system. The bit layout of the audio data is called the audio coding format and can be uncompressed, or compressed to reduce the file size, often using lossy compression. The data can be a raw bitstream in an audio coding format, but it is usually embedded in a container format or an audio data format with defined storage layer.
MiniDisc (MD) is an erasable magneto-optical disc-based data storage format offering a capacity of 60, 74, and later, 80 minutes of digitized audio.
Digital audio is a representation of sound recorded in, or converted into, digital form. In digital audio, the sound wave of the audio signal is typically encoded as numerical samples in a continuous sequence. For example, in CD audio, samples are taken 44,100 times per second, each with 16-bit sample depth. Digital audio is also the name for the entire technology of sound recording and reproduction using audio signals that have been encoded in digital form. Following significant advances in digital audio technology during the 1970s and 1980s, it gradually replaced analog audio technology in many areas of audio engineering, record production and telecommunications in the 1990s and 2000s.
DV is a family of codecs and tape formats used for storing digital video, launched in 1995 by a consortium of video camera manufacturers led by Sony and Panasonic. It includes the recording or cassette formats DV, MiniDV, DVCAM, Digital8, HDV, DVCPro, DVCPro50 and DVCProHD. DV has been used primarily for video recording with camcorders in the amateur and professional sectors.
Shorten (SHN) is a file format used for compressing audio data. It is a form of data compression of files and is used to losslessly compress CD-quality audio files. Shorten is no longer developed and other lossless audio codecs such as FLAC, Monkey's Audio (APE), TTA, and WavPack (WV) have become more popular. It is still in use to trade concert recordings that are already encoded as Shorten files. Shorten files use the .shn file extension.
Digital Audio Tape is a signal recording and playback medium developed by Sony and introduced in 1987. In appearance it is similar to a Compact Cassette, using 3.81 mm / 0.15" magnetic tape enclosed in a protective shell, but is roughly half the size at 73 mm × 54 mm × 10.5 mm. The recording is digital rather than analog. DAT can record at sampling rates equal to, as well as higher and lower than a CD at 16 bits quantization. If a comparable digital source is copied without returning to the analogue domain, then the DAT will produce an exact clone, unlike other digital media such as Digital Compact Cassette or non-Hi-MD MiniDisc, both of which use a lossy data-reduction system.
Super Audio CD (SACD) is an optical disc format for audio storage introduced in 1999. It was developed jointly by Sony and Philips Electronics and intended to be the successor to the compact disc (CD) format.
Sound can be recorded and stored and played using either digital or analog techniques. Both techniques introduce errors and distortions in the sound, and these methods can be systematically compared. Musicians and listeners have argued over the superiority of digital versus analog sound recordings. Arguments for analog systems include the absence of fundamental error mechanisms which are present in digital audio systems, including aliasing and associated anti-aliasing filter implementation, jitter and quantization noise. Advocates of digital point to the high levels of performance possible with digital audio, including excellent linearity in the audible band and low levels of noise and distortion.
Mastering, a form of audio post production, is the process of preparing and transferring recorded audio from a source containing the final mix to a data storage device, the source from which all copies will be produced. In recent years, digital masters have become usual, although analog masters—such as audio tapes—are still being used by the manufacturing industry, particularly by a few engineers who specialize in analog mastering.
The Digital Compact Cassette (DCC) is a magnetic tape sound recording format introduced by Philips and Matsushita Electric in late 1992 and marketed as the successor to the standard analog Compact Cassette. It was also a direct competitor to Sony's MiniDisc (MD), but neither format toppled the then-ubiquitous analog cassette despite their technical superiority, and DCC was discontinued in October 1996.
In digital recording, an audio or video signal is converted into a stream of discrete numbers representing the changes over time in air pressure for audio, or chroma and luminance values for video. This number stream is saved to a storage device. To play back a digital recording, the numbers are retrieved and converted back into their original analog audio or video forms so that they can be heard or seen.
Transcoding is the direct digital-to-digital conversion of one encoding to another, such as for video data files, audio files, or character encoding. This is usually done in cases where a target device does not support the format or has limited storage capacity that mandates a reduced file size, or to convert incompatible or obsolete data to a better-supported or modern format.
The Digital Audio Stationary Head or DASH standard is a reel-to-reel, digital audio tape format introduced by Sony in early 1982 for high-quality multitrack studio recording and mastering, as an alternative to analog recording methods. DASH is capable of recording two channels of audio on a quarter-inch tape, and 24 or 48 tracks on 1⁄2-inch-wide (13 mm) tape on open reels of up to 14 inches. The data is recorded on the tape linearly, with a stationary recording head, as opposed to the DAT format, where data is recorded helically with a rotating head, in the same manner as a VCR. The audio data is encoded as linear PCM and boasts strong cyclic redundancy check (CRC) error correction, allowing the tape to be physically edited with a razor blade as analog tape would, e.g. by cutting and splicing, and played back with no loss of signal. In a two-track DASH recorder, the digital data is recorded onto the tape across nine data tracks: eight for the digital audio data and one for the CRC data; there is also provision for two linear analog cue tracks and one additional linear analog track dedicated to recording time code.
Copy Control was the generic name of a copy prevention system, used from 2001 until 2006 on several digital audio disc releases by EMI Group and Sony BMG Music Entertainment in several regions. It should not be confused with the CopyControl computer software copy protection system introduced by Microcosm Ltd in 1989.
Generation loss is the loss of quality between subsequent copies or transcodes of data. Anything that reduces the quality of the representation when copying, and would cause further reduction in quality on making a copy of the copy, can be considered a form of generation loss. File size increases are a common result of generation loss, as the introduction of artifacts may actually increase the entropy of the data through each generation.
The history of sound recording - which has progressed in waves, driven by the invention and commercial introduction of new technologies — can be roughly divided into four main periods:
Tangerine Tree was a fan project operating from 2002 through 2006 with the goal of collecting, preserving and distributing unreleased concerts and other audio material by the band Tangerine Dream. The creators of the Tangerine Tree project received permission from Tangerine Dream to release the collection on a strict non-profit basis. Several of the Tangerine Tree volumes have been used as the basis for official Tangerine Dream releases. The project collected just under 300 hours of material (291:39:26).
A taper is a person who records musical events, often from standing microphones in the audience, for the benefit of the musical group's fanbase. Such taping was popularized in the late 1960s and early 1970s by fans of the Grateful Dead. Audio recording, while not officially allowed until the creation by the band of a "tapers' section" behind the soundboard in the mid-1980s, was generally tolerated at shows and fans would share their tapes through trade. Taping and trading became a Grateful Dead subculture.
An audio coding format is a content representation format for storage or transmission of digital audio. Examples of audio coding formats include MP3, AAC, Vorbis, FLAC, and Opus. A specific software or hardware implementation capable of audio compression and decompression to/from a specific audio coding format is called an audio codec; an example of an audio codec is LAME, which is one of several different codecs which implements encoding and decoding audio in the MP3 audio coding format in software.
References
↑ "About Etree". eTree.org Wiki. Archived from the original on 4 March 2016. Retrieved 21 December 2015.
↑ Van Bogart, John. "What Can Go Wrong with Magnetic Media?". Magnetic Tape Storage and Handling: A Guide for Libraries and Archives. Council on Library and Information Resources. Archived from the original on 22 December 2015. Retrieved 21 December 2015.
↑ Wilkinson, Alec (19 May 2014). "A Voice from the Past". The New Yorker. Archived from the original on 22 December 2015. Retrieved 21 December 2015. Many of these songs and speeches and musics, held at institutions such as the Smithsonian, the Library of Congress, the University of California, Harvard, and the British Museum, had been dormant for more than a century. [...] A curator named Carlene Stephens had overseen the collection for nearly thirty years without having heard any of the recordings or, in some cases, even knowing what the disks contained.
↑ PCP has been largely inactive since the turn of the millennium or shortly thereafter. The Yahoo! group still exists, but has carried little or nothing but spam since at least January 2004, and in August 2004 the group's manager closed down activity. In May 2001 a commenter on a www.phishauds.com post described themself as "one of the officers of the pre-broadband PCP(People for a Clearer Phish) from the 1990s".
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