It’s an iPhone / iPad / iPod / Android controlled helicopter, and (having played with a few micro-copters in the past) I can honestly say this is the best I’ve seen.

Rather than a separate remote control, the controller is your phone/tablet in conjunction with a free app and a rechargable infrared transmitter, which plugs in to your headphone socket. Assuming you’ve got one of the supported devices, this is a great setup (Currently supported: iPhone, iPod, iPad, HTC Desire S, HTC Desire HD, HTC Incredible S, HTC Wild Fire, HTC Wild Fire S, HTC Hero, HTC Sensation, Samsung 9100, Samsung i9000, Moto MB525, LG P350. With more to come, apparently). No on-board video streaming to the phone though. Not that you’d really expect it for £30.

To fly it, after an initial charge, I simply installed the free iOS app on the iPad, plugged the IR dongle into the audio jack, and I was off.

There’s also an ‘motion control’ option; a mode which lets you control forward/back/left/right by simply tilting your device. I found this mode a tiny bit easier, though the altitude control still needs a careful thumb to control it.

20 minutes of charging (via USB) gets you about 10 minutes of flying time.

It’s bigger than I was expecting, and the metal frame means it feels satisfyingly sturdy.

At first I was a bit nervous about damaging it, but I’ve since crashed it into pretty much every surface in my house with no damage to show for it. I’ve not even had to open up the included bag of spare parts. I’m impressed at how sturdy and durable this thing is. By killing the power whenever I get in trouble, and just letting it fall out of the air, I’m now very confident about flying it around indoors.

The app includes a ‘Turbo’ button (“for when extra speed is required”) which I expect will be useful when flying in an open plan office. So far I’ve not needed it much in my house.

Cons: Unlike a regular remote control, using a glass screen means no feedback from the altitude control, which takes some time to get used to.
Pros: Fun, fast and easy to control. Gyroscopic helicopters are really good these days, but this one is remarkably strong and durable.

This is a really great toy. Highly recommended. If you’re interested in ordering one, here’s the UK/Europe (currently £29.99 with free delivery) or the USA (currently $59.99 with free worldwide shipping).

Off the Wallpost (‘a conversation about digital media in the real world’) is put together by an intelligent, funny gang of three that you want to be part of. It only took 15 minutes before there was a Ghostbusters reference. What’s not to like?

They are: Dan Biddle, a social media producer; Kat Sommers, who works in a research team developing new tech for TV and radio and Barry Pilling, a cross-platform producer. Full disclosure: I used to work with these people. I think they’re ace.

Here’s what you’ll find in episode one…

6:00 – Artfinder.com launch. What is it, does it work, would you use it?
13:00 – Mobile + contacts, why can’t Google and Facebook get along?
20:00 – Charlie Sheen being bat-shit crazy on Twitter.
24:00 – Charity and social media (covering Underheard in New York, TwitChange, Pledgehammer, ProcasDonate and more). How is online charity evolving?

And episode two…

8:00 – Jon Bon Jovi and Steve Jobs
10:30 – The trend of using Tumblr to do one single simple but very specific thing, like Kate Middleton For The Win. Kim Jong Il Looking at Things. [I love these so much, I don't know where to start. I have my own collecting internet fridges and I've recently fallen in love with Nick Clegg Looking Sad.]
18:00 – Facebook and Warner Movies deal – will it work?
25:30 – Wanky words.
26:45 – Geo-location. Foursquare, StickyBits, Google Latitude, Glimpse and more. Is Foursquare a dead end? What’s the real opportunity here?

If you’re anything like me, this is exactly the sort of stuff about which you want people to do be funny and irreverent. Why else do I like it?

1. They’re pleasingly cutting about the jargon and bullshit which often surrounds social media experts. The first episode begins with an amnesty on the most offensive, trite and meaningless ‘wanky words from the web’, rooting out terms like ‘side-loading’ and stripping them of their power. This is refreshing, funny and fun.
2. At usually (so far) between 35 and 45 minutes long. That’s the right length; not too long, not too short.
3. It’s presented by British people. Not that I don’t love my friends from the USA, but in an online world where their US voices often seem to dominate it’s lovely to hear some local accents and a UK perspective for a change.
4. It’s like a really good SXSW panel with brilliant panelists talking about things you care about (and all without having to even get in a shuttle bus or queue up).

Like.

In a gloriously open brief, he asked me whether I’d prefer to talk about things I make or things I collect. For some reason I thought sharing a collection of my collections would be the most interesting option, and soon started putting together some examples. This morning, in a last-minute moment of self doubt, I realised how much cooler I’d have looked if I’d shared some of the hacks and tinkering projects I’ve worked on over the years. Like this and this and this and this. Not that much cooler, you say? Oh well.

Geeky things I obsessively collect and curate it is then…

I asked my wife what she thought, but she just laughed and pointed out a few extra collections I’d forgotten about and she’d never understood. How is it even possible for someone to throw away empty Altoids tins? They’re so keepable.

Just before the talk, anticipating there would be time for questions, I added a blank slide followed by a secret extra slide with my prediction of the first question that would be asked: “Where do you find the time?”. It turns out I guessed right, which got a big laugh. I’m sure the person who asked it didn’t mean it in a negative way, but it’s easily interpreted as “why do you waste your time with something I wouldn’t bother with?” and is not that different from claiming someone has too much time on their hands. So I blushingly pointed out that the question could be seen as slightly rude, and went on (hopefully not too defensively) to say that this was a very condensed view of many years of collections, very few of which have lasted very long or required very much time. Each one has taught me something and been valuable in its own way, and been more than worth the amount of time I’ve invested in it. Hard not to sound defensive though, so I also acknowledged that obviously I’m a bit of a geek, some of these things have been (sometimes short-lived) obsessions, and I wouldn’t expect other people to enjoy or value everything which I do in the same way.

We went on to discuss how the internet is a million niches, something I’ve been thinking about a lot in the past few years.

Thanks to Huey for the invite. I really enjoyed it.

It’s called Shift Run Stop and thanks to iTunes featuring it on their Podcasts page, it’s recently started getting rather a lot more attention and listeners than we’d ever have hoped.

A few people have asked me how the recording and editing works, so I thought I’d share what little I know about this stuff and how I do it. We co-host and co-produce, and while Leila is the video editor and publicist, I’m the sound editor and chief tech monkey. I think we make a good team, and it’s certainly a lot of fun.

Recording / Capturing / Studio

We both have Zoom H2 mp3 recorders (I copied Leila) and we use one or both of them to record the audio (generally as a 256kpps MP3, which we copy across to my laptop after we finish recording). Meanwhile, Leila uses her Flip camera or iPhone to capture video tasters, which she edits later in iMovie. She’s good.

Here you can see the Zoom H2, Leila’s Flip and The Internet’s Dave Green all in action together.

The Zoom H2 is very good for the price, and I’d recommend it to anyone looking for a decent sound recorder on a budget. For a slightly higher end option, I definitely like the look of the Edirol R-09HR.

Mixing / Cutting / Editing

I use Reaper to edit and mix the recordings. Reaper is amazing, has a hassle-free 30 day evaluation period and after that costs a very reasonable $60 for a personal/education/small-business discounted license or $225 for the regular license.

Some of the filters I use: compressor (to even out the loud peaks), reverb (though not very much or very often) and low-pass (as a hiss filter). Here’s what an episode looks like while I’m working on it.

Most of the podcasts you’ll find on iTunes are really quiet. I’m learning to trust what Reaper tells me about the volume level, and keeping it as high as possible so it doesn’t quite clip.

One recent complaint was that the stereo separation is sometimes too great; you hear one person in one ear and one in the other. It’s (obviously) because we sometimes record at opposite sides of the stereo microphone, i.e. at the extremes of it’s recording field. More overlap would be better. I’m going to experiment with the chanmix2 filter in Reaper to narrow the separation a bit. Longer term, to do everything properly, I’m actually quite tempted by the Alesis MultiMix 4 USB Four-Channel USB Mixer for creating a bit more of a studio setup with multiple microphones.

People have suggested that we could tighten it up a bit by removing the ‘um’s, ‘ah’s and other pauses. That’s probably true, and I do increasingly take out a bunch of the worst offenses. On the other hand, my feeling is that I wouldn’t want to go too far; leaving a bit of who we are is a good thing, and totally stripping the conversation of its natural rhythms would be bad. Sometimes I think the odd ‘umm’ can be a useful break; a sort of pressure valve to stop your brain exploding from over concentrated conversation. There are extremes here, with totally unedited two-hour long raw rambling conversations at one end (with the bad bits left in too), and an ultra tight US commercial radio programme at the other (with every hestitation and every moment of silence removed to make way for more ads).

If you’ve ever listend to Radiolab, and you should, then you’ve heard a well produced podcast (perhaps sometimes slightly over-produced for my taste), but one where the imperfections lend it an enormous charm.

In editing, I’m generally just trimming out the more glaring diversions, conversational cul-de-sacs and dull bits, cutting some of the bigger pauses and generally tidying it up a bit. In a 45 minute recording session it’s usually not hard to spot the 20 minutes of really really good stuff. We generally don’t re-order anything, or (of course) make it sound like someone said something they didn’t. I do happily switch between conversations though, and even drop listeners into things with very little introduction.

Back in November, Leila described Shift Run Stop as “an ambient soundscape sort of production, an undulation of chatter and noise, ideas, games and food…”, which I quite like. In the earliest episodes it was probably a bit too confusing, and we’re getting better at signposting what’s going on. That said, one thing I’m still really proud of is the bit in episode 4 where we drop into a couple of conversations without any sort of introduction. One right at the start (which ends up being a lead into hearing a Commodore 64 programme at in the podcast [02:30], which nobody yet seems to have loaded and run) and again at [10:03] where Dave, Tom and Leila are talking about a film and it’ll probably take you until about 11:15 to work out which one. Introducing that with ‘And now, we share our theories about a film…’ just wouldn’t have worked. You might argue that it’s confusing and stupid and annoying and wrong, and that’s just fine. Someone recently described it as ‘overhearing someone else’s conversation’ and gradually working out for yourself what’s going on. I prefer to think of it like that. It works if the conversation is interesting enough.

Publishing / Syndicating / Hosting

I use Libsyn to host the MP3s and Video files in the podcast, an instance of a WordPress to serve the shiftrunstop.co.uk blog and finally Feedburner to take an Atom feed from the blog and turn it into a podcast, while also tracking subscribers, making it work nicely in iTunes, etc.

Our setup works beautifully and was relatively painless, not to mention fairly cheap, to set up. Robert Brook was kind enough to give me some advice about Libsyn (by recording the answer to my questions in his own podcast, so you can hear it too if you want to). The only real cost is Libsyn, where I’m currently paying $24 per month for 525MB per month of upload, which is enough for 4 half-hour-ish audio episodes and 4 5-minute-ish video tasters. They have cheaper packages too. Libsyn don’t cap download bandwidth, so although Amazon S3 might have been even cheaper in the early days, Libsyn is a nice predictable cost rather than a variable one. To do it totally for free, we could just use the Internet Archive to host the audio files. Sadly, to be brutally honest, their upload is still so disappointingly flakey that I didn’t want to trust it.

Enormous Caveat: I’m probably doing everything really badly wrong. I’m documenting it here partly to share what I’ve learned by trial and error, but mostly so that people who know more about it can correct me.

Spoiler alert: when viewed large, this is a complete map and walkthrough of the wonderfully geeky ‘choose your own adventure‘ meets ‘Fighting Fantasy‘ style interactive book/game, Enemy of Chaos by Leila Johnston.

You might have read her previous book, How to Worry Friends and Inconvenience People. More recently, Leila’s reading from Enemy of Chaos was one of the forty very interesting things that happened at Interesting 2009. If you were foolish enough to miss that, I hope you’ve at least read Cory Doctorow’s review of the book on Boing Boing.

Earlier this week, Leila was kind enough to give me a copy. I loved it, and within a day I’d decided I absolutely needed to see what a map of every possible path through the book would look like.

I made this using the `dot` renderer from GraphViz, which does all the hard work of drawing the graph and laying it out. The source file only took about 20 minutes to create. I quickly flicked through the book from beginning to end, documenting all the ‘now turn to page x’ choices like so:

digraph g {
  node [ shape = plaintext, fontname = Tahoma ]
  1 -> 166
  1 -> 37
  23 -> 201
  24 -> 48
  24 -> 178
  31 -> 110
  31 -> 191
  // ... (etc)
}

Viewed as a graph, it also acts a walkthrough, revealing the dead ends and the various paths to the final page. It also highlights a few interesting things about the structure:

• A six page loop between pages 201 and 23.
• A glitch which means page 227 can’t ever be reached except by flicking randomly to it; it’s a reverse dead-end.
• There are quite a few ways to reach the end, but a lot more ways not to. It’s very hard to win, and gets increasingly hard towards the end.

Below is the same map, laid out horizontally. As Leila points out, it “looks like a big Romulan ship”, which is quite appropriate for what must be one of the geekiest books of the year.

It contains five analog bend sensors, 3 buttons plus in theory x, y and z coordinates and yaw, pitch and roll (it emits IR which is picked up by a big USB IR tower so it knows where your hand is in space).

Here’s the P5 Glove intro movie…

I say in theory because while the p5osc Mac drivers handle the bend sensors very well the x/y/z output is jittery and yaw/pitch/roll sadly non-existent.

I’ve been experimenting with bridging the outputs for the buttons, fingers and thumb into MIDI custom controls so that I mess around with them in ControllerMate. Here’s a demo of a simple setup which detects whether each digit is straight or bent, and uses that to determine whether your hand is describing a rock, paper or scissors shape. For now, it just displays ‘Rock’, ‘Paper’ or ‘Scissors’ in large type on the screen but it would be pretty straightforward to turn this into a simple game.

P5 Glove – MIDI Rock Paper Scissors from rooreynolds on Vimeo.

Here’s the ControllerMate patch I made to do it (click through for the annotated version on Flickr).

Lots more fun to be had here with virtual pianos and guitar strings too; arpeggiating the MIDI guitar, for example.

I couldn’t resist trying it for myself, and picked one up on eBay for a little bit less than £20 including delivery. Quite a bit less than the RRP you’ll see quoted in some places online. A games console, complete with 87 games, for £20. Bargain. Right? Well, almost.

Observations:

• The graphics are sub-SNES quality and many of the games are barely playable. The knock-off design is laughable and the bargain basement price reveals itself at every opportunity.
• The two stick controllers each include four red flashing lights at the bottom, a-la the blue lights on the Wiimote, but these ones don’t do anything except flash irritatingly and constantly.
• The stick controllers do include a very crude motion control. Certainly nothing like the Wiimote of course, but simply a basic (and flaky) movement detection, presumably through something like a mercury tilt switch. It just about works for the Tennis and Pingpong games but it it painful in the extreme for any of the others, especially baseball and golf where it’s practically unusable. You can turn ‘sport’ mode off to disable the motion control and use the buttons instead (or just use the other game controller which you only get one of but is a much better bet for most of the games).

I have not tried all 87 games yet, but here are some highlights

Tennis

Bowling

Little Indian

While many of the other games I’ve tried so far have been predictably awful, other have turned out to be quite playable in a retro generation-before-last sort of way. Especially with the volume muted. The quality of the (18) games on the sports cartridge, while still quite mixed, is markedly higher than the (69) games on the arcade cartridge.

Some of the names are amazing. How can you not love a console that ships with titles including Cross Strert, Assart, Aimless, Polk, Grot Kid, Knocking, Ramming, Fish Journey and Girl.

I’ll try to continue to capture and review more of the games in detail. Rather than do it here, I’ve started an owners wiki where I’ve begun to document the EZi’s various games and hardware. It already includes the photos and videos used above, plus Pingpong, Boxing and others, and I’m sure it will grow as I (and others?) add more. I do hope anyone else who is brave/mad/foolish enough to buy an EZi Entertainment Zone will join me there.

However, since a few people have asked me for it, here’s the current version of the ControllerMate patch which contains two versions; one for Rock Band (Harmonix) Xbox guitars and one for Guitar Hero (Red Octane X-Plorer Controller) Xbox guitars.

You’ll need ControllerMate to use it of course, but more importantly you’ll need the MIDI-enabled version (which means you’ll need a registered copy) but honestly, once I’d tried ControllerMate I knew the MIDI addition was well worth the $15.

Enjoy, and do let me know if you make any interesting modifications.

Things that might help you get started:

• an introduction to the features and how it works
  

• annotated description of a previous version of the patch
• XBox 360 USB controller driver for OS X

I’ve been collecting photos of laptop stickers for ages.

Here’s what my ever-changing MacBook Air looks like at the moment (click the image for the Flickr version, complete with notes).

I’m always on the lookout for more. If you want me to display your sticker, and don’t mind posting it to me, let me know so I can give you a mailing address. I mean, if I’m prepared to walk into meetings with ‘sit on myspace’ emblazoned across the front of my lid, I should be able to cope with anything, right?

If I want to eliminate, or at least manage, distractions, it will be useful to know not just which sites I spend the most accumulated time visiting (MeeTimer already does a pretty good of showing me this), but also which sites I visit most frequently. Because MeeTimer stores all of its lovely date in an SQLite database it’s easy to get to it and create pretty graphs like this one…

Even better, lots of scripting languages have support for SQLite (I’m using Xampp as a convenient stack containing Apache PHP 5 and SQLite 3). After hacking around for a couple of hours, my nasty little PHP script was serving up this sort of thing:

(Larger version)

MeeTimer lets you group URLs into different groups, so here those groups are displayed using different coloured rows. Yellow represents site’s I’ve grouped as ‘work’ (mainly work’s webmail address), so it’s easy to see that when I was working on my laptop at home on Friday, i.e. 2 days ago, I was accessing work webmail pretty constantly. I have a desktop at work, so on most days I don’t need to use webmail to check my email except for on the train on the way in and out, but for some reason I had it open for ages on Monday morning (i.e 6 days ago). Perhaps I was away from desk?

I’m also experimenting with alternative ways of displaying the history, including showing the favicons for certain sites.

(Larger version)

Here I’m just showing the visits to about a dozen sites I seem to visit (very) regularly, e.g. Twitter, Gmail, Flickr, Google, Technorati, Feedburner, Google Reader, Delicious, etc. You can see that I habitually check Gmail about once per hour, and visit Twitter even more regularly than that.

The code for the DNA one is a bit specific to my groups, so I want to generalise that to work for all groups before I share it, but I’ve put the code on GitHub for the favicon one. It’ll probably only work in Firefox 2 or better. Canvas should work in Safari, but I’ve probably used Mozilla specific stuff for the text. This was a very quick hack, and there’s plenty of scope for enhancements, so let me know if you make any improvements.