WEBVTT - Frequency Hopping

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<v Speaker 1>Get in touch with technology with tech Stuff from how

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<v Speaker 1>stuff works dot com. Hey there, and welcome to tech Stuff.

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<v Speaker 1>I'm your host, Jonathan Strickland. I'm an executive producer at

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<v Speaker 1>how Stuff Works and I love all things tech and

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<v Speaker 1>in our last episode, I talked about actress Hetty Lamar

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<v Speaker 1>and how she came to America just before World War

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<v Speaker 1>Two erupted in Europe and how she co invented a

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<v Speaker 1>form of secret communication via radio signals with composer George Antile.

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<v Speaker 1>These two seemingly unlikely inventors proposed a method in which

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<v Speaker 1>allied radio operators would be able to control something like

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<v Speaker 1>a torpedo using radio signals without fear of having their

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<v Speaker 1>operations jammed by enemy operators. The system made clever use

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<v Speaker 1>of the same basic technology that player Pianos used, and

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<v Speaker 1>if you haven't heard that episode, I urge you to

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<v Speaker 1>check it out as it's a good starter for today's

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<v Speaker 1>show and just a quick reminder. The system that Lamar

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<v Speaker 1>and and Tile proposed would allow a radio transmitter and

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<v Speaker 1>a paired receiver switch radio frequencies multiple times during a

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<v Speaker 1>transmission in an effort to avoid frequency jamming. The trick

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<v Speaker 1>was to create a system where the transmission antenna and

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<v Speaker 1>the receiver could automatically tune to the appropriate frequencies on

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<v Speaker 1>their own in such a way as to be unpredictable

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<v Speaker 1>to enemies. To do that, you would need some sort

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<v Speaker 1>of instructions that both systems could carry out in synchronization,

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<v Speaker 1>and Tile supplied this mechanism in the form of paper

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<v Speaker 1>rolls identical to the type used in player pianos, complete

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<v Speaker 1>with the ability to tune into eighty eight different frequencies,

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<v Speaker 1>just as a typical piano has eight keys. So Hetty

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<v Speaker 1>Lamar and George Antile submitted their idea to the United

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<v Speaker 1>States Navy. The Navy's response was less than enthusiastic. Essentially,

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<v Speaker 1>the Navy said, we don't want to put player pianos

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<v Speaker 1>in torpedoes, which seems like a pretty short sighted counterpoint.

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<v Speaker 1>In a ddition, some modern historians have trouble believing Henny

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<v Speaker 1>Lamar could have come up with this idea herself. Some

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<v Speaker 1>have suggested that rather than invent the approach, she simply

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<v Speaker 1>learned about it while she was still in Austria, while

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<v Speaker 1>she was married to Fritz Mandel, and armament manufacturer who

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<v Speaker 1>was supplying weapons to the Nazis, but according to a

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<v Speaker 1>nine interview with Lamar, that simply wasn't true. She said

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<v Speaker 1>she never learned anything about armaments from her husband, who

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<v Speaker 1>preferred to keep his wife in relative seclusion. Personally, I

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<v Speaker 1>think it is completely believable that Lamar came up with

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<v Speaker 1>this idea, as she understood the potential that frequency hopping

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<v Speaker 1>could provide for secret communications, but she lacked the mechanical

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<v Speaker 1>and electrical engineering knowledge to make practical use of it, So,

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<v Speaker 1>in other words, it's not like she came out of

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<v Speaker 1>nowhere with a fully formed implementation of her idea. The

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<v Speaker 1>military told Lamar that if she wanted to support the

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<v Speaker 1>United States during the war, she should stop coming up

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<v Speaker 1>with ideas and instead she should put her fame to

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<v Speaker 1>use in selling war bonds. Lamar, believing the United States

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<v Speaker 1>to be on the right side of the conflict, did

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<v Speaker 1>just that. Her idea languished with other classified documents locked

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<v Speaker 1>away in the United States Navy, and the reason that

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<v Speaker 1>it was locked away was that while the Navy didn't

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<v Speaker 1>plan on using it, they were concerned that some of

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<v Speaker 1>this information could potentially give the enemy valuable information if it,

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<v Speaker 1>in fact we're shared publicly, so it got put into

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<v Speaker 1>secret storage. Essentially, she went on to perform for troops

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<v Speaker 1>and raise money for the United States, reportedly raising the

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<v Speaker 1>equivalent of more than twenty million dollars by some estimates.

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<v Speaker 1>This was all before she herself was a citizen in

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<v Speaker 1>the United States. She was not yet a cisen but

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<v Speaker 1>she was raising money for the US. In two the

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<v Speaker 1>United States government, in an act I can only describe

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<v Speaker 1>as wicked, seized Lamar's patents and labeled her an enemy alien.

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<v Speaker 1>Lamar was perplexed here. She had been participating in events

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<v Speaker 1>to raise money for the United States, she had willingly

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<v Speaker 1>submitted her patent to the United States military, and now

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<v Speaker 1>she found herself labeled by that same government as an

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<v Speaker 1>alien resident from a hostile country because she was originally

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<v Speaker 1>from Austria. It was a pretty big insult on top

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<v Speaker 1>of everything else. But Lamar kept on working in Hollywood.

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<v Speaker 1>She produced her own film at a point when such

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<v Speaker 1>a thing was unheard of. The studios didn't care for

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<v Speaker 1>that one bit, as they had a pretty tight stranglehold

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<v Speaker 1>on entertainment at the time, and no studio wanted actors

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<v Speaker 1>to get big ideas about producing their own movies independently.

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<v Speaker 1>The studios liked it, with the actors being entirely dependent

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<v Speaker 1>upon the studio, so this was not something that was

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<v Speaker 1>greeted with acclaim among studio executives at the time. She

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<v Speaker 1>was able to bring her mother over to the States.

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<v Speaker 1>If you remember, in the last episode, she was concerned

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<v Speaker 1>her mom had fled Austria to England but had been

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<v Speaker 1>stuck there for a while. But Hetty Lamar was able

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<v Speaker 1>to get her mom to over to the United States,

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<v Speaker 1>and she made a good deal of money when she

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<v Speaker 1>started cecil b Demills, Samson and Delilah, but she would

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<v Speaker 1>end up losing a lot of that money producing her

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<v Speaker 1>own movies, which would be commercially unsuccessful. She was attempting

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<v Speaker 1>to create roles for herself because she was frustrated that

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<v Speaker 1>studios were giving her the same sort of roles over

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<v Speaker 1>and over, which were essentially wicked temptresses, and she wanted

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<v Speaker 1>to play different types of parts. So she made her

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<v Speaker 1>own movies, but they ended up not doing so well

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<v Speaker 1>and it almost bankrupted her. In nineteen Lamar would ask

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<v Speaker 1>a friend of hers who was in the U. S.

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<v Speaker 1>Navy if he might be able to find out whatever

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<v Speaker 1>happened to her patent because it got locked away in secrecy,

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<v Speaker 1>and she was just curious, you know, whatever happened to

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<v Speaker 1>that idea. I came up with her friend did some

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<v Speaker 1>digging and discovered that the technology she and Antile had

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<v Speaker 1>proposed in ninety one was now in common use in

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<v Speaker 1>the United States military for secret communications. Her patent at

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<v Speaker 1>that point had expired. So patents provide protection, but only

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<v Speaker 1>for a set number of years. So if you have

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<v Speaker 1>an invention and you patent it for the amount of

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<v Speaker 1>time that the patent is active, you have protection. If

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<v Speaker 1>someone else uses your invention, creates something that relies upon

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<v Speaker 1>your invention without first licensing that from you, without you

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<v Speaker 1>giving them permission to do it, you can, uh you

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<v Speaker 1>can pursue a legal case against them and say that

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<v Speaker 1>they've infringed upon your patented idea or your patented invention,

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<v Speaker 1>I should say, and if the court finds it is so,

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<v Speaker 1>you could be awarded money for that. However, patents only

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<v Speaker 1>are good for a certain number of years, and after

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<v Speaker 1>that they passed into the public domain, which is meant

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<v Speaker 1>to give inventors the opportunity to take advantage of previous

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<v Speaker 1>inventions and then improve upon them. Otherwise, you would lock

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<v Speaker 1>an ideal way and it would become the exclusive domain

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<v Speaker 1>of a single party, and that would squelch innovation. Well,

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<v Speaker 1>Lamar's patent had entered into the public domain by nineteen

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<v Speaker 1>sixty nine. However, as it turns out, the military had

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<v Speaker 1>been using that patented idea since before the patent had

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<v Speaker 1>actually expired, and that meant that Lamar should have been

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<v Speaker 1>paid for the use of that idea. As those who

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<v Speaker 1>submitted their inventions to the Inventor's Counsel I mentioned them

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<v Speaker 1>in the last episode, they were supposed to receive compensation

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<v Speaker 1>if those inventions were actually put into practice. Lamar was

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<v Speaker 1>unaware of the fact that they had been doing this

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<v Speaker 1>by the time she found out her patent had expired,

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<v Speaker 1>and she did not know that if she were to

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<v Speaker 1>sue within six years of the patent expiring for revenue

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<v Speaker 1>that should have been hers, she could have won the

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<v Speaker 1>court case. She was unaware of all of that, and

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<v Speaker 1>as a result, she did not receive any money from

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<v Speaker 1>her patented idea that the United States government was actively

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<v Speaker 1>exploiting from the nineteen fifties onward. The implementation in uh

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<v Speaker 1>in question the one that was first used back when

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<v Speaker 1>her patented idea was still patented, was called the Sanna

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<v Speaker 1>buoy or Sanna boy as most people pronounce it, But

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<v Speaker 1>it's a a portmanteau of sonar and buoy or boy

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<v Speaker 1>I say, booie. That's just the way I've always said

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<v Speaker 1>that word. But you know, thing thing what floats in

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<v Speaker 1>the water SnO. Sano buoys have been around for a while,

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<v Speaker 1>but this particular implementation used Lamar's proposal of frequency hopping,

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<v Speaker 1>and it would allow a buoy in the water to

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<v Speaker 1>send sonar signals out in an attempt to detect in

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<v Speaker 1>submarines in the area and send those communications up to

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<v Speaker 1>an airplane that's flying surveillance overhead. So you would actually

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<v Speaker 1>deploy several of these Sauna buys in an area, and

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<v Speaker 1>you would use any signals they were picking up to

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<v Speaker 1>triangulate the position of an submarine and be able to

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<v Speaker 1>locate them and then track them. So, in order to

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<v Speaker 1>do that effectively, you want that communication to be secret

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<v Speaker 1>and you want you want to avoid the potential of

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<v Speaker 1>whoever you're trying to spy on be able to jam

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<v Speaker 1>the signals, so you need some way of preventing that.

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<v Speaker 1>Frequency hopping was the way her patent had passed to

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<v Speaker 1>a contractor who was working on the Sauna Buy. His

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<v Speaker 1>name was rummeld Ireneus Sabor Machaki, and I know I've

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<v Speaker 1>butcher trying to pronounce that name. It was a heck

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<v Speaker 1>of a name to try and pronounce. He said that

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<v Speaker 1>when he was handed the patent the names had been expunged.

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<v Speaker 1>He didn't know who was respond stable for it. It

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<v Speaker 1>was just property of the United States Navy. But he

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<v Speaker 1>used it as a basis for his design of a

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<v Speaker 1>frequency hopping communication system between the Sauna Buy and airplanes,

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<v Speaker 1>though his version used a computer chip to determine which

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<v Speaker 1>frequencies the two elements would use in sequence rather than

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<v Speaker 1>rolls of piano paper, so they upgraded the means of

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<v Speaker 1>sending the series of frequencies, but it was still the

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<v Speaker 1>same idea. Years later he discovered who had written the patent,

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<v Speaker 1>and he created a page on his personal website that

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<v Speaker 1>he titled a Tribute to Hetty Lamar. He detailed how

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<v Speaker 1>the frequency hopping technology was used not just in Saanna

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<v Speaker 1>Buy's but also early surveillance drones developed by the Aerojet

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<v Speaker 1>General Corporation and which eventually were used in Vietnam. In

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<v Speaker 1>his piece, he thanked heavy Lamar for contributions, and as

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<v Speaker 1>the years went by, Lamar hit many obstacles. She would

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<v Speaker 1>be married several times, but the marriages would never last

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<v Speaker 1>very long. She had two children of her own and

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<v Speaker 1>adopted another, though her adopted son would essentially be raised

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<v Speaker 1>by another family. She would be taken under the care

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<v Speaker 1>of a doctor named Max Jacobsen, sometimes referred to as

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<v Speaker 1>doctor field Good, who got her hooked on amphetamines. His

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<v Speaker 1>medical license would ultimately be revoked by the New York

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<v Speaker 1>State Board of Regents in nineteen seventy five, and Hey

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<v Speaker 1>Lamar would become a recluse. She had multiple plastic surgeries,

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<v Speaker 1>some of which did not go well, which made her

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<v Speaker 1>withdraw even further. She was ashamed of her appearance, and

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<v Speaker 1>when she was contacted in nineteen seven and told that

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<v Speaker 1>lockeed Martin and the military plan to honor her with

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<v Speaker 1>an award for her contributions for her creation of frequency hopping,

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<v Speaker 1>her response was, well, it's about time. She did not

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<v Speaker 1>attend the ceremony herself. She was self conscious about how

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<v Speaker 1>she looked, but her son accepted the award for her,

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<v Speaker 1>and she called him right in the middle of the

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<v Speaker 1>acceptance speech, to the great amusement of both her son

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<v Speaker 1>and the crowd. Old Hetty Lamar died in two thousand,

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<v Speaker 1>at the age of eighty five, and by then her

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<v Speaker 1>story had been told a few times, but her name

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<v Speaker 1>and performances had often been used as punchlines. Ultimately, I'm

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<v Speaker 1>very sad for Hetty Lamar, as I feel her contributions

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<v Speaker 1>were criminally underappreciated and unrewarded and unacknowledged, and the things

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<v Speaker 1>that she was most known for were things that she

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<v Speaker 1>ultimately thought were not very important, playing these roles that

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<v Speaker 1>the studio kept pushing on her, not the parts that

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<v Speaker 1>she wanted, nor her intellectual contributions. Those were left in

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<v Speaker 1>complete ignorance among most people, and I find that really tragic. However,

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<v Speaker 1>when we come back, I'm going to talk more about

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<v Speaker 1>frequency hopping and how it's an underlying technology for a

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<v Speaker 1>lot of the stuff we use today. But first let's

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<v Speaker 1>take a quick break to thank our sponsor. So the

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<v Speaker 1>concept behind frequency hopping is simple. You have two or

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<v Speaker 1>more radios tuned to a frequency which allows for communication

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<v Speaker 1>between those two radios, and in synchronized moments, you switch

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<v Speaker 1>the transmitting and receiving frequencies to a different frequency but

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<v Speaker 1>different from the one they had been using, but the

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<v Speaker 1>same as each other, So they both simultaneously switched to

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<v Speaker 1>a new frequency, the same new frequency. Doing this prevents

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<v Speaker 1>someone else from easily being able to snoop on you,

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<v Speaker 1>or to jam your conversation, or just to encounter interference

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<v Speaker 1>in general, because you're never on any one frequency for

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<v Speaker 1>two terribly long. So imagine you're listening to a song

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<v Speaker 1>on the radio, and a minute into the song, your

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<v Speaker 1>radio switches spontaneously to a different station, but the same

0:13:49.960 --> 0:13:51.800
<v Speaker 1>song is on there, and it's playing in the exact

0:13:51.800 --> 0:13:54.400
<v Speaker 1>same spot, And you find out that your radio and

0:13:54.440 --> 0:13:58.000
<v Speaker 1>the transmitter are synchronized, and that if you had stuck

0:13:58.080 --> 0:14:01.560
<v Speaker 1>to your original station, you'd only hear part of the

0:14:01.600 --> 0:14:03.720
<v Speaker 1>song before the signal just went away and you were

0:14:03.760 --> 0:14:06.920
<v Speaker 1>listening to nothing at all. That's the basic idea. It's

0:14:06.960 --> 0:14:09.480
<v Speaker 1>simple in concept, but how do you implement it so

0:14:09.520 --> 0:14:13.080
<v Speaker 1>that it actually works. Both the transmitter and the receiver

0:14:13.320 --> 0:14:17.760
<v Speaker 1>rely upon a pseudo random sequence to determine the series

0:14:17.800 --> 0:14:21.200
<v Speaker 1>of frequencies that are to be used throughout the communication,

0:14:21.600 --> 0:14:24.640
<v Speaker 1>and pseudo random kind of means what it sounds like

0:14:24.920 --> 0:14:29.680
<v Speaker 1>it's a process that on casual glance looks like it's random,

0:14:29.960 --> 0:14:33.280
<v Speaker 1>but in reality it isn't. I've talked about this in

0:14:33.440 --> 0:14:37.280
<v Speaker 1>previous episodes of tech Stuff. Computers can create things that

0:14:37.360 --> 0:14:39.720
<v Speaker 1>appear to be random because they actually go through a

0:14:39.840 --> 0:14:44.040
<v Speaker 1>very complicated system in order to get a specific product.

0:14:44.480 --> 0:14:47.720
<v Speaker 1>But if you were to understand all the steps, you

0:14:47.720 --> 0:14:50.520
<v Speaker 1>would see that it's not truly a random number because

0:14:50.520 --> 0:14:55.160
<v Speaker 1>computers are not good at creating true random numbers. They

0:14:55.200 --> 0:14:59.560
<v Speaker 1>can just simulate random most of the time anyway, So

0:15:00.520 --> 0:15:03.280
<v Speaker 1>you tend to use a very complicated process, but it's

0:15:03.480 --> 0:15:06.640
<v Speaker 1>entirely deterministic. So that does mean that if you knew

0:15:06.960 --> 0:15:09.720
<v Speaker 1>every single step of the process, and you had enough

0:15:09.760 --> 0:15:13.520
<v Speaker 1>time and enough smarts, you could get to the answer

0:15:14.120 --> 0:15:16.840
<v Speaker 1>that the computer is using. In fact, if you're good

0:15:16.960 --> 0:15:18.840
<v Speaker 1>enough and you're fast enough, you could do it to

0:15:18.840 --> 0:15:21.200
<v Speaker 1>the point where you could predict what the next thing

0:15:21.480 --> 0:15:24.360
<v Speaker 1>is going to be, and you could actually in advance

0:15:24.480 --> 0:15:28.400
<v Speaker 1>tune to the correct frequency every single time if you

0:15:28.480 --> 0:15:30.920
<v Speaker 1>had all the information that the system was using in

0:15:31.000 --> 0:15:34.080
<v Speaker 1>order to generate this stuff. But again, if you were

0:15:34.120 --> 0:15:36.040
<v Speaker 1>just to look at it, it would appear to be

0:15:36.080 --> 0:15:39.680
<v Speaker 1>totally random because it's such a complicated system that's going

0:15:39.720 --> 0:15:42.480
<v Speaker 1>through before it gets to that that solution, and the

0:15:42.520 --> 0:15:48.000
<v Speaker 1>processes tend to be really super fast, like changing frequencies

0:15:48.080 --> 0:15:51.440
<v Speaker 1>at least twice a second, and that's a slow one.

0:15:52.080 --> 0:15:55.480
<v Speaker 1>Most of them change frequencies way more frequently than two

0:15:55.520 --> 0:15:58.200
<v Speaker 1>times in a second, which means it's way too fast

0:15:58.200 --> 0:16:01.360
<v Speaker 1>for a human to be able to replicate any a Typically,

0:16:01.560 --> 0:16:03.600
<v Speaker 1>the way this might work is you would have two

0:16:03.840 --> 0:16:07.880
<v Speaker 1>radio transmitters and receivers or radios, let's just say, and

0:16:07.920 --> 0:16:10.240
<v Speaker 1>you want them both on the same series of frequencies.

0:16:10.480 --> 0:16:13.360
<v Speaker 1>So you you make some sort of process that generates

0:16:13.360 --> 0:16:16.080
<v Speaker 1>what appears to be a random number, and that this

0:16:16.160 --> 0:16:19.400
<v Speaker 1>number is somehow associated with frequencies, typically in a look

0:16:19.440 --> 0:16:22.680
<v Speaker 1>up table. So you could say, like, if the number

0:16:22.880 --> 0:16:27.280
<v Speaker 1>is fourteen, you look at this table, this chart, and

0:16:27.320 --> 0:16:30.160
<v Speaker 1>it tells you what sequence of frequencies you need to

0:16:30.280 --> 0:16:34.280
<v Speaker 1>use for that communications session. So your first radio will

0:16:34.320 --> 0:16:37.720
<v Speaker 1>send a request to radio number two. Radio number two

0:16:37.760 --> 0:16:43.080
<v Speaker 1>responds with a seed number generated by this pseudo random process.

0:16:43.120 --> 0:16:45.560
<v Speaker 1>So Radio one says, hey, I want to chat. Radio

0:16:45.600 --> 0:16:50.440
<v Speaker 1>two says, use this number. Radio one ends up using

0:16:50.440 --> 0:16:53.240
<v Speaker 1>that number and looks up the series of frequencies, sends

0:16:53.280 --> 0:16:57.080
<v Speaker 1>that back to radio two for a confirmation. Uh, the

0:16:57.080 --> 0:16:59.480
<v Speaker 1>these are the sequence of frequencies that the two radios

0:16:59.480 --> 0:17:02.400
<v Speaker 1>are going to use for the duration of their communication session,

0:17:02.920 --> 0:17:07.160
<v Speaker 1>and then the radio two will confirm that by sending

0:17:07.200 --> 0:17:11.520
<v Speaker 1>a synchronization signal to radio one that makes both radio

0:17:11.680 --> 0:17:15.679
<v Speaker 1>start on the same moment and then they can communicate.

0:17:15.720 --> 0:17:19.840
<v Speaker 1>They will swap frequencies, not just knowing which frequency it

0:17:19.960 --> 0:17:24.560
<v Speaker 1>goes next, but how long each frequency will be landed upon, right,

0:17:24.600 --> 0:17:27.960
<v Speaker 1>how long do you spend on each individual frequency? And

0:17:28.000 --> 0:17:31.200
<v Speaker 1>that allows for the communication between these two devices where

0:17:31.240 --> 0:17:34.760
<v Speaker 1>you're you're hopping from one frequency to the next throughout

0:17:34.800 --> 0:17:39.760
<v Speaker 1>the entire session. And once you do that, you would

0:17:39.800 --> 0:17:44.120
<v Speaker 1>appear to be hopping too frequencies at random from the

0:17:44.200 --> 0:17:47.840
<v Speaker 1>perspective and of an outside observer. So if you and

0:17:47.880 --> 0:17:50.919
<v Speaker 1>your buddy are chatting with each other over cellular phones

0:17:50.960 --> 0:17:56.840
<v Speaker 1>that are using frequency hopping spread spectrum approach, then I

0:17:56.960 --> 0:18:00.399
<v Speaker 1>when I'm looking at the signals that are you're sending

0:18:00.440 --> 0:18:01.840
<v Speaker 1>back and forth to me, it would look like it's

0:18:01.840 --> 0:18:05.040
<v Speaker 1>totally random, like there's no meaning from one frequency to

0:18:05.080 --> 0:18:08.880
<v Speaker 1>the next. You're not sequentially hopping frequencies, you're jumping all

0:18:08.920 --> 0:18:12.639
<v Speaker 1>over within that that bandwidth, whatever that band of frequencies

0:18:12.720 --> 0:18:15.760
<v Speaker 1>happens to be. You could be jumping left and right,

0:18:15.880 --> 0:18:18.960
<v Speaker 1>you know, up and down all sorts of ways, and

0:18:19.000 --> 0:18:21.920
<v Speaker 1>I would not be able to determine where you're going

0:18:21.960 --> 0:18:25.640
<v Speaker 1>to go next. That's really important for a multiple reasons,

0:18:25.640 --> 0:18:28.560
<v Speaker 1>not just the idea of not being snooped upon, that's

0:18:28.560 --> 0:18:32.679
<v Speaker 1>a big one, but also avoiding interference. Uh, you can

0:18:32.720 --> 0:18:36.000
<v Speaker 1>have multiple devices all communicating through the same methodology, and

0:18:36.040 --> 0:18:38.920
<v Speaker 1>because they're all using different frequencies and hopping around a lot,

0:18:39.520 --> 0:18:44.080
<v Speaker 1>then the odds of two communication devices needing to use

0:18:44.119 --> 0:18:46.880
<v Speaker 1>the exact same frequency at the exact same time are

0:18:47.000 --> 0:18:51.120
<v Speaker 1>very very low. Also, these devices tend to be very

0:18:51.240 --> 0:18:54.439
<v Speaker 1>low power devices, and because of that, they have a

0:18:54.480 --> 0:18:57.359
<v Speaker 1>limited range. So once you get outside of that range,

0:18:57.640 --> 0:19:00.560
<v Speaker 1>you don't really have to worry about interference anymore. So

0:19:01.080 --> 0:19:04.720
<v Speaker 1>two mobile phones that happened to hop on the same frequency,

0:19:05.720 --> 0:19:07.720
<v Speaker 1>that's only gonna be an issue if they were really

0:19:07.720 --> 0:19:12.520
<v Speaker 1>close together, otherwise the signals won't propagate far enough. And

0:19:12.560 --> 0:19:16.880
<v Speaker 1>again these happen. It happened so fast, within a split second,

0:19:17.480 --> 0:19:20.280
<v Speaker 1>the odds of it actually causing any real interference are

0:19:20.320 --> 0:19:24.840
<v Speaker 1>extremely low, and any interference that's perceptible to human beings

0:19:25.359 --> 0:19:30.600
<v Speaker 1>that's almost impossible. So it you want to make sure

0:19:30.680 --> 0:19:33.520
<v Speaker 1>that you have this this methodology set up in your

0:19:33.560 --> 0:19:36.639
<v Speaker 1>system in a way that appears to be pseudo random

0:19:36.720 --> 0:19:38.840
<v Speaker 1>to make sure you keep it secure and to keep

0:19:38.840 --> 0:19:42.120
<v Speaker 1>it from interfering with all the other systems that are

0:19:42.119 --> 0:19:45.359
<v Speaker 1>out there. Uh. One nice thing about this is that

0:19:45.440 --> 0:19:47.840
<v Speaker 1>again you can use those multiple devices in that same

0:19:47.840 --> 0:19:51.560
<v Speaker 1>frequency channel, and typically there are enough subchannels to allow

0:19:51.640 --> 0:19:54.280
<v Speaker 1>lots of multiple devices to access the system without any

0:19:54.280 --> 0:19:57.879
<v Speaker 1>sort of cross talk or interference. So WiFi uses this.

0:19:57.920 --> 0:20:01.080
<v Speaker 1>For example, when I did the WiFi episode, I talked

0:20:01.240 --> 0:20:05.359
<v Speaker 1>briefly about the strategy called frequency hopping spread spectrum or

0:20:05.520 --> 0:20:08.760
<v Speaker 1>f h s S. A spread spectrum is a method

0:20:08.800 --> 0:20:11.520
<v Speaker 1>in which a signal is spread throughout the frequency domain

0:20:11.640 --> 0:20:15.480
<v Speaker 1>of a bandwidth. So let's just say, for argument's sake,

0:20:15.560 --> 0:20:18.880
<v Speaker 1>we've got a bandwidth of channels. There are ten essential

0:20:19.119 --> 0:20:22.960
<v Speaker 1>essentially sub channels inside this bandwidth, so you can think

0:20:22.960 --> 0:20:24.960
<v Speaker 1>of it as a highway that has ten lanes of

0:20:25.080 --> 0:20:29.399
<v Speaker 1>potential traffic. A spread spectrum would take a signal that

0:20:29.480 --> 0:20:32.320
<v Speaker 1>normally would fit into just a single channel or a

0:20:32.320 --> 0:20:35.720
<v Speaker 1>single lane on this highway, and then allow that signal

0:20:35.760 --> 0:20:40.560
<v Speaker 1>to spread through the entire width of that bandwidth or

0:20:40.720 --> 0:20:43.520
<v Speaker 1>all of the lanes of the highway. With frequency hopping,

0:20:43.720 --> 0:20:46.160
<v Speaker 1>it would be as if the car was magically jumping

0:20:46.200 --> 0:20:48.920
<v Speaker 1>from say, lane to to lane seven, and then from

0:20:48.960 --> 0:20:51.359
<v Speaker 1>lane seven to lane five, and then lane five to

0:20:51.440 --> 0:20:54.119
<v Speaker 1>lane one, and so on and so forth, just immediately

0:20:54.520 --> 0:20:57.920
<v Speaker 1>jumping from one lane to the next while continuously traveling

0:20:57.960 --> 0:21:01.880
<v Speaker 1>down the highway. But there are other methodologies that take

0:21:01.920 --> 0:21:06.359
<v Speaker 1>a slightly different approach. Direct sequence spread spectrum, which is

0:21:06.400 --> 0:21:09.879
<v Speaker 1>also used in WiFi, takes the signal and then modulates

0:21:09.880 --> 0:21:12.800
<v Speaker 1>it with a pseudo random noise spreading code, and the

0:21:12.840 --> 0:21:16.320
<v Speaker 1>result is that tiny bits of data travel through different

0:21:16.320 --> 0:21:21.080
<v Speaker 1>frequency subchannels. So with frequency hopping, you have this big

0:21:21.160 --> 0:21:25.119
<v Speaker 1>highway with ten lanes, and the car is in any

0:21:25.240 --> 0:21:28.480
<v Speaker 1>one lane at any given time, but just one lane, right,

0:21:28.640 --> 0:21:31.080
<v Speaker 1>It's like either in lane two, or it's in lane

0:21:31.080 --> 0:21:34.879
<v Speaker 1>three or whatever. And then when it comes time to hop,

0:21:35.440 --> 0:21:38.800
<v Speaker 1>it suddenly appears in a different lane, but it's always

0:21:38.920 --> 0:21:43.359
<v Speaker 1>only in one lane at a time. Direct sequence spread

0:21:43.400 --> 0:21:47.040
<v Speaker 1>spectrum is different. It's in all the lanes simultaneously, but

0:21:47.080 --> 0:21:50.639
<v Speaker 1>only tiny parts of it are in each lane, and

0:21:50.680 --> 0:21:52.399
<v Speaker 1>then on the other end you're able to piece it

0:21:52.440 --> 0:21:58.240
<v Speaker 1>all together. So different approach to using the same sort

0:21:58.280 --> 0:22:00.960
<v Speaker 1>of trying to solve the same sort of problem. So

0:22:01.080 --> 0:22:04.679
<v Speaker 1>it's the basis d S S S. The direct sequence

0:22:04.680 --> 0:22:07.600
<v Speaker 1>spread spectrum is the basis of c d M A

0:22:07.760 --> 0:22:11.480
<v Speaker 1>mobile phone technology, and then the frequency hopping spread spectrum

0:22:11.560 --> 0:22:15.240
<v Speaker 1>is the underlying technology for G s M mobile phones.

0:22:16.160 --> 0:22:19.960
<v Speaker 1>Most of the world used g s M for mobile

0:22:20.000 --> 0:22:24.000
<v Speaker 1>phone technology, at least before the development of lte A

0:22:24.119 --> 0:22:26.120
<v Speaker 1>T and t n T Mobile were the two companies

0:22:26.160 --> 0:22:28.640
<v Speaker 1>in the United States that relied on g s M tech,

0:22:29.320 --> 0:22:31.359
<v Speaker 1>and then c d M A was only used in

0:22:31.400 --> 0:22:34.000
<v Speaker 1>a couple of places in the world, primarily the United

0:22:34.040 --> 0:22:39.520
<v Speaker 1>States under Verizon and Sprint. In WiFi, the typical approach

0:22:39.560 --> 0:22:42.080
<v Speaker 1>with f H S S was to use one of

0:22:42.160 --> 0:22:46.119
<v Speaker 1>seventy nine different one mega hurts channels following one of

0:22:46.240 --> 0:22:50.080
<v Speaker 1>seventy eight different hops sequences, and the sequence would require

0:22:50.119 --> 0:22:53.920
<v Speaker 1>hops every four hundred milliseconds. The odds of interference, whether

0:22:53.960 --> 0:22:57.240
<v Speaker 1>intentional or otherwise, we're really low. To reduce the chance

0:22:57.280 --> 0:23:01.120
<v Speaker 1>of interference even more, like I said, these technologies were

0:23:01.200 --> 0:23:06.359
<v Speaker 1>using very low power transmissions, uh typically around one what

0:23:06.760 --> 0:23:09.480
<v Speaker 1>or less in power. And you may remember in that

0:23:09.520 --> 0:23:12.800
<v Speaker 1>recent episode about WiFi how the spectrum set aside for

0:23:12.840 --> 0:23:16.400
<v Speaker 1>WiFi communication happened to be within the range of industrial

0:23:16.520 --> 0:23:20.160
<v Speaker 1>and medical equipment and also stuff like microwave ovens. So

0:23:20.640 --> 0:23:24.439
<v Speaker 1>in the United States, the FCC had said, this band

0:23:24.560 --> 0:23:28.840
<v Speaker 1>of frequencies is set aside for these particular types of technologies. However,

0:23:29.600 --> 0:23:34.240
<v Speaker 1>if your technology can transmit at a power level below

0:23:34.560 --> 0:23:38.760
<v Speaker 1>one what or so, then you may also make use

0:23:38.800 --> 0:23:44.040
<v Speaker 1>of this and unlicensed approaches to this this band of frequencies.

0:23:44.080 --> 0:23:47.680
<v Speaker 1>That's where WiFi rose up out of the unlicensed use

0:23:48.040 --> 0:23:51.360
<v Speaker 1>as long as they remained in the transmission power below

0:23:51.920 --> 0:23:56.359
<v Speaker 1>the threshold. So that also meant that the potential of

0:23:56.400 --> 0:24:00.000
<v Speaker 1>interference was decreased because again those signals could not try

0:24:00.080 --> 0:24:02.280
<v Speaker 1>will very far, they just didn't have a lot of

0:24:02.640 --> 0:24:06.800
<v Speaker 1>behind them. H f HSS has been used in multiple

0:24:06.840 --> 0:24:10.879
<v Speaker 1>types of technologies, from cell phones to WiFi to bluetooth technology,

0:24:10.960 --> 0:24:15.240
<v Speaker 1>and the bluetooth implementation is actually called adaptive frequency hopping

0:24:15.320 --> 0:24:19.879
<v Speaker 1>spread spectrum or a f H Bluetooth signals change frequencies

0:24:20.440 --> 0:24:24.320
<v Speaker 1>one thousand six hundred times a second across seventy nine

0:24:24.320 --> 0:24:28.639
<v Speaker 1>possible subchannels. And it's called adaptive because Bluetooth can detect

0:24:28.640 --> 0:24:32.560
<v Speaker 1>which frequencies are the most crowded and avoid those using

0:24:32.840 --> 0:24:36.880
<v Speaker 1>less crowded frequencies to help head off potential interference problems. Now,

0:24:36.920 --> 0:24:40.400
<v Speaker 1>some investimated that the value of this technology comes close

0:24:40.440 --> 0:24:44.480
<v Speaker 1>to thirty billion dollars or more, and Lamar never really

0:24:44.480 --> 0:24:47.240
<v Speaker 1>got to see any of that. During her lifetime. She

0:24:47.280 --> 0:24:49.960
<v Speaker 1>made money in other ways, but didn't really get to

0:24:50.040 --> 0:24:53.000
<v Speaker 1>profit off this idea, which again seems to be a shame. Now,

0:24:53.000 --> 0:24:56.080
<v Speaker 1>when we come back, we're gonna talk about some other

0:24:56.200 --> 0:25:02.720
<v Speaker 1>more interesting, not more in interesting, but additional interesting inventions

0:25:02.760 --> 0:25:06.360
<v Speaker 1>that came to us from celebrities. But first let's take

0:25:06.359 --> 0:25:16.800
<v Speaker 1>another quick break to thank our sponsor. Well, I've pretty

0:25:16.840 --> 0:25:20.119
<v Speaker 1>much exhausted the topic of frequency hopping without getting into

0:25:20.280 --> 0:25:23.399
<v Speaker 1>much more technical detail, and that would increase both the

0:25:23.480 --> 0:25:26.560
<v Speaker 1>likelihood that I would lose a lot of listeners and

0:25:26.640 --> 0:25:30.600
<v Speaker 1>more likely I would get something really really wrong, because

0:25:30.640 --> 0:25:34.560
<v Speaker 1>my own understanding of the technology does not go that deep.

0:25:34.880 --> 0:25:37.359
<v Speaker 1>So instead of trying to talk about it for another

0:25:37.400 --> 0:25:39.840
<v Speaker 1>ten minutes and him and Hall, which I think would

0:25:39.840 --> 0:25:41.919
<v Speaker 1>waste everyone's time. I thought it might be fun to

0:25:41.960 --> 0:25:45.600
<v Speaker 1>chat about other actors and other people in the entertainment

0:25:45.640 --> 0:25:49.760
<v Speaker 1>industry who have been credited with various inventions and what

0:25:49.880 --> 0:25:54.520
<v Speaker 1>those inventions are. For example, actor and musician Harry Connick Jr.

0:25:54.720 --> 0:25:59.119
<v Speaker 1>Invented a system that synchronized the display of digital sheet

0:25:59.280 --> 0:26:02.800
<v Speaker 1>music from musicians in an orchestra, so instead of musicians

0:26:02.840 --> 0:26:06.800
<v Speaker 1>all referencing printed sheet music on paper, which requires you

0:26:06.840 --> 0:26:08.760
<v Speaker 1>to find time to turn a page and try to

0:26:08.840 --> 0:26:11.520
<v Speaker 1>keep up with the pace of the musical piece. Harry

0:26:11.600 --> 0:26:15.439
<v Speaker 1>Connick Jr. Gets a credit on US patent six million,

0:26:15.480 --> 0:26:18.480
<v Speaker 1>three forty eight thousand, six hundred forty eight for a

0:26:18.560 --> 0:26:20.960
<v Speaker 1>music display that keeps time with the playing of a

0:26:21.000 --> 0:26:24.280
<v Speaker 1>piece and updates automatically. You file for the patent in

0:26:24.359 --> 0:26:28.920
<v Speaker 1>nineteen and received a patent on February nine, two thousand two.

0:26:29.119 --> 0:26:33.520
<v Speaker 1>The abstract reads like this quote, a system and method

0:26:33.560 --> 0:26:37.760
<v Speaker 1>for coordinated music composition and display among musicians is presented.

0:26:38.080 --> 0:26:41.840
<v Speaker 1>The system and method enables a conductor, composer, or band

0:26:41.960 --> 0:26:46.199
<v Speaker 1>leader to interactively edit one or more music score parts

0:26:46.240 --> 0:26:50.600
<v Speaker 1>of a composition using a pen based interface, mouse, alpha

0:26:50.680 --> 0:26:55.359
<v Speaker 1>numeric keyboard, or a musical keyboard. Handwritten music editing which

0:26:55.440 --> 0:26:58.760
<v Speaker 1>is entered with the pen based interface may be flexibly

0:26:58.840 --> 0:27:02.520
<v Speaker 1>converted to a digital all music notation format. Connected to

0:27:02.600 --> 0:27:06.240
<v Speaker 1>the composer station are one or more musician stations that

0:27:06.359 --> 0:27:09.919
<v Speaker 1>may be arranged as an orchestra. The musical score parts

0:27:09.960 --> 0:27:14.280
<v Speaker 1>may be selectively transmitted to one or more musician stations

0:27:14.320 --> 0:27:17.960
<v Speaker 1>by the composer. Thus, an operator of the conductor station

0:27:18.200 --> 0:27:21.840
<v Speaker 1>can flexibly write and edit music score parts and transmit

0:27:21.880 --> 0:27:24.879
<v Speaker 1>the parts to musicians over the network. The system and

0:27:24.920 --> 0:27:27.560
<v Speaker 1>method can also be used to conduct the orchestra in

0:27:27.600 --> 0:27:30.960
<v Speaker 1>rehearsals or performances, so this could be incredibly useful if

0:27:30.960 --> 0:27:33.320
<v Speaker 1>you were composing a piece of music. Let's say that

0:27:33.359 --> 0:27:37.320
<v Speaker 1>you're a film composer and you're working on trying to

0:27:37.320 --> 0:27:41.000
<v Speaker 1>create just the right mood during the actual composition. You've

0:27:41.000 --> 0:27:43.560
<v Speaker 1>got the film to watch, You've got a print of

0:27:43.560 --> 0:27:46.720
<v Speaker 1>the film, there's no music on it yet, and you

0:27:46.800 --> 0:27:50.160
<v Speaker 1>decide to try a composition you've created, and the orchestra

0:27:50.240 --> 0:27:52.160
<v Speaker 1>plays it just as you wrote it, and you realize

0:27:52.200 --> 0:27:54.960
<v Speaker 1>this isn't actually evoking the emotion I want. I need

0:27:55.000 --> 0:27:57.240
<v Speaker 1>to change this up a little bit. With this system,

0:27:57.440 --> 0:28:00.119
<v Speaker 1>you can make those sort of notes live and have

0:28:00.200 --> 0:28:03.520
<v Speaker 1>it distributed immediately to musicians who could then read those

0:28:03.600 --> 0:28:06.840
<v Speaker 1>changes and incorporate that in their next performance of the piece.

0:28:07.400 --> 0:28:09.760
<v Speaker 1>I think about this when I hear episodes of the

0:28:09.800 --> 0:28:12.960
<v Speaker 1>soundtrack show, because they talk a lot about having to

0:28:12.960 --> 0:28:16.359
<v Speaker 1>do different takes and having different approaches to playing the

0:28:16.440 --> 0:28:19.200
<v Speaker 1>same sort of music over and over again. And I

0:28:19.240 --> 0:28:22.000
<v Speaker 1>think it's a pretty clever approach and also makes sense.

0:28:22.160 --> 0:28:24.960
<v Speaker 1>He is a musician. He created a system that would

0:28:25.000 --> 0:28:30.200
<v Speaker 1>benefit musicians. But what about magician Harry Houdini. He patented

0:28:30.320 --> 0:28:35.359
<v Speaker 1>a diver's suit in nineteen twenty one. Specifically, Whodini's design

0:28:35.440 --> 0:28:38.760
<v Speaker 1>was to improve upon deep sea diving suits. So this

0:28:38.800 --> 0:28:41.120
<v Speaker 1>is one of those big bulky ones as the big

0:28:41.520 --> 0:28:44.920
<v Speaker 1>like BioShock style helmet on the top of it. The

0:28:45.000 --> 0:28:47.960
<v Speaker 1>design was meant to be an improvement in several ways

0:28:48.120 --> 0:28:50.720
<v Speaker 1>upon the diving suits of the day. For example, is

0:28:50.760 --> 0:28:53.800
<v Speaker 1>meant to protect divers from the intense pressure they would

0:28:53.800 --> 0:28:56.720
<v Speaker 1>experience when diving deep below the surface. It was also

0:28:56.800 --> 0:28:59.560
<v Speaker 1>meant to allow divers to quickly move up or down

0:28:59.640 --> 0:29:02.440
<v Speaker 1>within the sea without having to spend as much time

0:29:02.560 --> 0:29:06.480
<v Speaker 1>compressing or decompressing, And it was meant to allow divers

0:29:06.520 --> 0:29:09.480
<v Speaker 1>to get in and out of the suit all by themselves,

0:29:09.760 --> 0:29:12.400
<v Speaker 1>including in the case of an emergency in which a

0:29:12.440 --> 0:29:15.800
<v Speaker 1>diver might need to ditch the suit underwater and risk

0:29:15.840 --> 0:29:18.800
<v Speaker 1>getting the bends in an effort to avoid certain death.

0:29:19.320 --> 0:29:22.600
<v Speaker 1>The diving suit consisted of an upper body section and

0:29:22.680 --> 0:29:25.160
<v Speaker 1>a lower body section, and they would join together at

0:29:25.200 --> 0:29:28.520
<v Speaker 1>a metallic belt at a lever operator system on it,

0:29:28.600 --> 0:29:31.479
<v Speaker 1>which would allow the diver to attach or detach the

0:29:31.520 --> 0:29:35.080
<v Speaker 1>two sections. So you flip a little lever and the

0:29:35.120 --> 0:29:39.400
<v Speaker 1>suit would come apart. Pretty clever invention and also makes sense.

0:29:39.440 --> 0:29:42.760
<v Speaker 1>Harry Hudini was all about finding ways to get out

0:29:42.800 --> 0:29:45.360
<v Speaker 1>of things very quickly. He was mostly known as an

0:29:45.480 --> 0:29:48.840
<v Speaker 1>escape artist kind of magician, more of an escape artist

0:29:48.880 --> 0:29:52.200
<v Speaker 1>than your your traditional magician. I would say. Then we

0:29:52.240 --> 0:29:54.840
<v Speaker 1>have Samuel Clemens, who was better known, of course as

0:29:54.920 --> 0:29:58.200
<v Speaker 1>Mark Twain. He got a patent for an invention titled

0:29:58.440 --> 0:30:03.920
<v Speaker 1>Quote Improvement in Adjustable and Detachable Straps for Garments end Quote,

0:30:04.200 --> 0:30:09.120
<v Speaker 1>which was essentially an elastic strap and clasp, with at

0:30:09.200 --> 0:30:11.760
<v Speaker 1>least one image in the patent showing a hook and

0:30:11.880 --> 0:30:16.400
<v Speaker 1>clasp system. So in other words, Mark Twain, writer of

0:30:16.480 --> 0:30:21.360
<v Speaker 1>Tom Sawyer and Huckleberry Finn invented the bra strap clasp.

0:30:22.400 --> 0:30:28.120
<v Speaker 1>Thank you, Mark Twain, we appreciate your support. Zeppo Marks,

0:30:28.200 --> 0:30:31.600
<v Speaker 1>the younger brother to the famous Marx brothers of Groucho,

0:30:31.800 --> 0:30:35.240
<v Speaker 1>Chico and Harpo. Not to mention Gummo, who most people

0:30:35.240 --> 0:30:38.000
<v Speaker 1>don't remember. He wasn't just an actor in some of

0:30:38.000 --> 0:30:41.480
<v Speaker 1>their earlier films. He was also an inventor. He created

0:30:41.560 --> 0:30:44.880
<v Speaker 1>a cardiac pulse monitor, plus a couple of other inventions,

0:30:44.920 --> 0:30:48.400
<v Speaker 1>including a heating pad that used steam as the source

0:30:48.440 --> 0:30:51.360
<v Speaker 1>for heat. The cardiac monitor was in the form of

0:30:51.400 --> 0:30:54.040
<v Speaker 1>a watch. And I gotta quote the abstract because I

0:30:54.080 --> 0:30:56.920
<v Speaker 1>like the idea, but I'm not sure how practical it

0:30:57.000 --> 0:30:59.400
<v Speaker 1>really is, whether or not it actually worked. But here's

0:30:59.440 --> 0:31:04.080
<v Speaker 1>there's the abstract quote. A unit to provide an audible

0:31:04.160 --> 0:31:08.360
<v Speaker 1>and vibratory warning to advise persons who have cardiac impairment

0:31:08.680 --> 0:31:12.200
<v Speaker 1>of extreme variations in the pulse rate. The unit is

0:31:12.240 --> 0:31:15.480
<v Speaker 1>provided with an electric motor that is operated by the

0:31:15.520 --> 0:31:18.800
<v Speaker 1>power of a small electric cell in a circuit that

0:31:18.920 --> 0:31:23.320
<v Speaker 1>is intermittently closed by a pulse actuated switch and which

0:31:23.480 --> 0:31:27.240
<v Speaker 1>rotates a permanent magnet. The latter is enclosed in a

0:31:27.320 --> 0:31:30.600
<v Speaker 1>housing that is held in a position corresponding to normal

0:31:30.760 --> 0:31:33.960
<v Speaker 1>by a hair spring, said housing under drag of the

0:31:34.000 --> 0:31:37.440
<v Speaker 1>magnetic field of the magnet being moved rotationally in the

0:31:37.440 --> 0:31:41.000
<v Speaker 1>direction of magnet rotation when the pulse rate is above

0:31:41.080 --> 0:31:44.280
<v Speaker 1>normal due to a more continuous energizing of the motor

0:31:44.360 --> 0:31:47.240
<v Speaker 1>by the pulse, and said housing under bias of the

0:31:47.280 --> 0:31:51.040
<v Speaker 1>hair spring being moved rotationally counter to said magnetic drag.

0:31:51.240 --> 0:31:54.800
<v Speaker 1>When the pulse rate is subnormal, a color coded tail

0:31:54.840 --> 0:31:58.320
<v Speaker 1>tale advises of lesser pulse rate variations in either direction,

0:31:58.600 --> 0:32:02.000
<v Speaker 1>and audible alarm is provided to warn of excessively high

0:32:02.120 --> 0:32:05.040
<v Speaker 1>or abnormally low changes of the pulse rate. So, in

0:32:05.080 --> 0:32:08.320
<v Speaker 1>other words, what all that wordiness says is that there

0:32:08.440 --> 0:32:12.520
<v Speaker 1>was an element inside this watch that would rotate as

0:32:12.560 --> 0:32:16.360
<v Speaker 1>part of its normal means of operation if it wasn't

0:32:16.360 --> 0:32:19.240
<v Speaker 1>attached to your risk at all. Once attached to your wrist,

0:32:19.600 --> 0:32:24.200
<v Speaker 1>their pulse would create a a switch. There would be

0:32:24.200 --> 0:32:26.200
<v Speaker 1>a switch that would open and close in time with

0:32:26.240 --> 0:32:29.920
<v Speaker 1>your pulse. Their pulse would somehow activate this switch. This

0:32:30.000 --> 0:32:31.880
<v Speaker 1>is the part where I'm not sure how this would work.

0:32:31.920 --> 0:32:34.520
<v Speaker 1>How you would have a switch that was sensitive enough

0:32:34.560 --> 0:32:38.760
<v Speaker 1>to activate whenever your pulse was beating through whenever it

0:32:38.800 --> 0:32:42.600
<v Speaker 1>was pressing against the switch, and whenever the switch is activated,

0:32:43.120 --> 0:32:48.400
<v Speaker 1>the permanent magnet inside this device would want to turn

0:32:48.640 --> 0:32:51.200
<v Speaker 1>in the opposite direction that it would normally turn in.

0:32:51.920 --> 0:32:57.160
<v Speaker 1>And if your pulse was regular, then these uh counter

0:32:57.560 --> 0:33:02.040
<v Speaker 1>active forces. The natural role rotation of the permanent magnet

0:33:02.120 --> 0:33:07.600
<v Speaker 1>due to the inner workings of the watch versus the

0:33:07.640 --> 0:33:10.640
<v Speaker 1>actions that were being created because of your pulse closing

0:33:10.680 --> 0:33:13.240
<v Speaker 1>off this switch would sort of cancel each other out.

0:33:13.720 --> 0:33:16.600
<v Speaker 1>But if your pulse was too slow, then it would

0:33:16.640 --> 0:33:18.960
<v Speaker 1>be rotating too much in the way that it was

0:33:19.120 --> 0:33:21.680
<v Speaker 1>naturally intended to go, or if your pulse was too fast,

0:33:21.680 --> 0:33:24.560
<v Speaker 1>it would be rotating counter to that direction, and in

0:33:24.600 --> 0:33:27.440
<v Speaker 1>either case it would alert you saying, hey, your heart's

0:33:27.440 --> 0:33:30.040
<v Speaker 1>going all crazy, like maybe you need to take a rest.

0:33:30.600 --> 0:33:32.680
<v Speaker 1>I honestly don't know if this thing would work based

0:33:32.720 --> 0:33:35.959
<v Speaker 1>upon the patent it. I didn't learn enough of it

0:33:36.040 --> 0:33:39.160
<v Speaker 1>to figure out how you could have a switch that's

0:33:39.160 --> 0:33:43.240
<v Speaker 1>sensitive without using something like h L e ed s

0:33:43.280 --> 0:33:47.600
<v Speaker 1>to detect when blood is flowing through your veins. Anyway,

0:33:47.880 --> 0:33:51.320
<v Speaker 1>I had a lot of options for other inventions created

0:33:51.320 --> 0:33:54.480
<v Speaker 1>by celebrities to kind of close this out. Steven Spielberg

0:33:54.520 --> 0:33:56.960
<v Speaker 1>invented a device that would allow you to make annotations

0:33:57.000 --> 0:34:01.120
<v Speaker 1>and edits to a document using your voice. Um typically

0:34:01.200 --> 0:34:03.760
<v Speaker 1>just a like a digital recorder that would allow you

0:34:03.800 --> 0:34:08.480
<v Speaker 1>to annotate a digital recording of a screenplay. He meant

0:34:08.520 --> 0:34:11.000
<v Speaker 1>to do this so that you can make edits on

0:34:11.080 --> 0:34:13.919
<v Speaker 1>the on the go, because he said, often you wanted

0:34:13.960 --> 0:34:17.120
<v Speaker 1>to speak out your thoughts, but it was hard to

0:34:17.160 --> 0:34:20.799
<v Speaker 1>capture what those ideas were in documented form, and this

0:34:20.840 --> 0:34:23.160
<v Speaker 1>would be a way that you could collect that information

0:34:23.400 --> 0:34:27.680
<v Speaker 1>and append it to an existing document. Michael Jackson's name

0:34:27.760 --> 0:34:30.360
<v Speaker 1>is on a patent for shoes that shifts the wearer's

0:34:30.480 --> 0:34:33.160
<v Speaker 1>center of gravity, allowing the wearer to lean much further

0:34:33.320 --> 0:34:36.600
<v Speaker 1>forward than they normally could and still maintain your balance.

0:34:37.120 --> 0:34:39.480
<v Speaker 1>This was to replicate the effect as seen in the

0:34:39.600 --> 0:34:42.840
<v Speaker 1>music video Smooth Criminal Now. During the music video, the

0:34:42.920 --> 0:34:46.759
<v Speaker 1>dancers actually wore special harnesses hooked up to cables, and

0:34:46.800 --> 0:34:49.360
<v Speaker 1>that gave them the ability to lean far forward, you know,

0:34:49.440 --> 0:34:53.160
<v Speaker 1>without face planting. But that would not be such a

0:34:53.200 --> 0:34:55.600
<v Speaker 1>good idea during a live show. It would require too

0:34:55.640 --> 0:34:58.320
<v Speaker 1>much set up, it would be too obvious to the audience,

0:34:58.520 --> 0:35:02.080
<v Speaker 1>so they needed some other warm of invention to allow

0:35:02.160 --> 0:35:05.360
<v Speaker 1>for that same sort of effect. So these shoes included

0:35:05.360 --> 0:35:08.960
<v Speaker 1>a way to lock into an upstanding post positioned on

0:35:09.000 --> 0:35:12.399
<v Speaker 1>a stage, sort of like a peg the shoe would

0:35:12.400 --> 0:35:14.640
<v Speaker 1>fit on. This actually makes me think of action figures.

0:35:14.719 --> 0:35:16.400
<v Speaker 1>There are a lot of action figures that in the

0:35:16.480 --> 0:35:20.040
<v Speaker 1>heel of a shoe on the action figure, there's a

0:35:20.040 --> 0:35:23.279
<v Speaker 1>little hole, and that typically will correspond with pegs that

0:35:23.360 --> 0:35:26.239
<v Speaker 1>you'll find in various action figure play sets, so that

0:35:26.280 --> 0:35:28.960
<v Speaker 1>the figure will stand up and not just fall over

0:35:29.000 --> 0:35:31.600
<v Speaker 1>as soon as you try and position him or her

0:35:31.719 --> 0:35:34.640
<v Speaker 1>in whatever placing you're using. But there was one invention

0:35:34.760 --> 0:35:38.239
<v Speaker 1>so goofy from someone pretty famous that I felt it

0:35:38.320 --> 0:35:42.400
<v Speaker 1>had to be my final example because it's just about

0:35:42.440 --> 0:35:45.040
<v Speaker 1>as much of the opposite of what Hetty Lamar did

0:35:45.080 --> 0:35:48.920
<v Speaker 1>as I can imagine. The inventor in question was Francis

0:35:48.960 --> 0:35:52.200
<v Speaker 1>Ford Coppola, and Coppola is a famous film director and

0:35:52.239 --> 0:35:56.040
<v Speaker 1>screenwriter and producer. He co wrote the film Patent, he

0:35:56.120 --> 0:36:00.440
<v Speaker 1>co wrote and directed The Godfather, and he directed apocalyp Now,

0:36:00.480 --> 0:36:03.440
<v Speaker 1>among other things, so he's definitely made a name for

0:36:03.520 --> 0:36:06.520
<v Speaker 1>himself in the history of film. He also has a

0:36:06.560 --> 0:36:09.600
<v Speaker 1>connection with Michael Jackson. I just mentioned Michael Jackson, well

0:36:09.760 --> 0:36:12.680
<v Speaker 1>Topola had a connection with him. He directed Captain e O,

0:36:13.080 --> 0:36:16.279
<v Speaker 1>which is a three D seventeen minute short film that

0:36:16.360 --> 0:36:20.080
<v Speaker 1>starred Michael Jackson in sort of a space fantasy adventure

0:36:20.640 --> 0:36:24.280
<v Speaker 1>and this was for Disney theme parks. But he also

0:36:24.600 --> 0:36:28.480
<v Speaker 1>filed a patent application on August thirty one, two thousand six,

0:36:28.880 --> 0:36:32.760
<v Speaker 1>and the patent application had the title Garment for identifying

0:36:32.840 --> 0:36:36.680
<v Speaker 1>location on body of the garment wearer. The abstract is

0:36:36.760 --> 0:36:41.200
<v Speaker 1>short quote the present invention discloses a garment having printed

0:36:41.239 --> 0:36:46.040
<v Speaker 1>thereon a figure comprising uniquely identifiable regions that when Warren

0:36:46.239 --> 0:36:49.319
<v Speaker 1>permit the wearer to identify for a third party a

0:36:49.360 --> 0:36:53.160
<v Speaker 1>particular location on the wearer's body end quote. The patent

0:36:53.239 --> 0:36:55.399
<v Speaker 1>includes an image of a shirt with a turtle shell

0:36:55.600 --> 0:36:59.480
<v Speaker 1>on it. The turtle's shell has a grid pattern printed

0:36:59.520 --> 0:37:02.719
<v Speaker 1>over it, and the grids have numbers inside of them,

0:37:02.719 --> 0:37:05.960
<v Speaker 1>so you can refer to specific numbers within the grid.

0:37:06.560 --> 0:37:09.000
<v Speaker 1>And the whole purpose of this is to let someone

0:37:09.000 --> 0:37:11.200
<v Speaker 1>else know when you have an itch in an effort

0:37:11.239 --> 0:37:15.520
<v Speaker 1>to get that itch scratched. Seriously, this is straight from

0:37:15.520 --> 0:37:18.680
<v Speaker 1>the patent application. I swear I did not make this up.

0:37:18.840 --> 0:37:23.080
<v Speaker 1>Quote for example, scratching an itch is a very common

0:37:23.120 --> 0:37:27.200
<v Speaker 1>task in everyday life. It can be especially difficult, however,

0:37:27.320 --> 0:37:29.680
<v Speaker 1>for a person to scratch his or her own itch

0:37:30.040 --> 0:37:32.520
<v Speaker 1>when the location of the itch isn't a hard to

0:37:32.560 --> 0:37:36.640
<v Speaker 1>reach spot, such as the back presently absent a device

0:37:36.800 --> 0:37:39.759
<v Speaker 1>such as a scratching stick. A person with an itch

0:37:39.880 --> 0:37:42.640
<v Speaker 1>in a hard to reach location must ask a second

0:37:42.719 --> 0:37:46.880
<v Speaker 1>party to scratch the itch. This, in turn requires orienting

0:37:46.920 --> 0:37:50.279
<v Speaker 1>the second party scratcher by using a series of directions

0:37:50.320 --> 0:37:54.000
<v Speaker 1>which are often being misunderstood by the second party. For example,

0:37:54.239 --> 0:37:58.680
<v Speaker 1>these instructions might include, could you scratch lower to the left? No,

0:37:59.160 --> 0:38:02.879
<v Speaker 1>the other left? Now down lower to the right, no,

0:38:02.880 --> 0:38:06.160
<v Speaker 1>no too far back to the left. This situation may

0:38:06.160 --> 0:38:09.040
<v Speaker 1>arise for people in normal health and dexterity, or for

0:38:09.120 --> 0:38:12.600
<v Speaker 1>people with limited flexibility, such as those having spinal injuries

0:38:12.640 --> 0:38:16.280
<v Speaker 1>that prevent them from bending or twisting to any significant degree.

0:38:16.600 --> 0:38:19.120
<v Speaker 1>So a solution was to have a print out of

0:38:19.160 --> 0:38:21.600
<v Speaker 1>a turtle shell with numbers on it, and then you

0:38:21.600 --> 0:38:25.000
<v Speaker 1>would just say can you scratch me at number seventeen. Then,

0:38:25.000 --> 0:38:27.360
<v Speaker 1>because you have the shirt on with the numbers on

0:38:27.400 --> 0:38:30.960
<v Speaker 1>the back, the person could reach up look at number seventeen,

0:38:31.520 --> 0:38:34.240
<v Speaker 1>give you a good old scratching and you would finally

0:38:34.280 --> 0:38:37.600
<v Speaker 1>have relief. The patent office did not appear to issue

0:38:37.640 --> 0:38:40.560
<v Speaker 1>a patent for this particular idea, and again I think

0:38:40.560 --> 0:38:43.759
<v Speaker 1>of it as being a an incredible contrast with what

0:38:43.840 --> 0:38:47.880
<v Speaker 1>Heavy Lamar's patent was back in So I had to

0:38:47.960 --> 0:38:50.799
<v Speaker 1>include that as our final example because it makes me

0:38:51.200 --> 0:38:54.799
<v Speaker 1>smile so much. Guys. Before I sign off, I just

0:38:54.840 --> 0:38:58.080
<v Speaker 1>want to give another shout out to the documentary Bombshell.

0:38:58.480 --> 0:39:03.400
<v Speaker 1>It's all about Heavy lamar story, not just the parts

0:39:03.480 --> 0:39:06.239
<v Speaker 1>about her UH kind of coming up with the idea

0:39:06.239 --> 0:39:10.120
<v Speaker 1>of frequency hopping, but also other elements of her life,

0:39:10.120 --> 0:39:14.600
<v Speaker 1>including the trials and tribulations she went through, the various

0:39:14.719 --> 0:39:19.040
<v Speaker 1>UH challenges she faced throughout her life, choices she made,

0:39:19.120 --> 0:39:21.440
<v Speaker 1>and how that affected her. I highly recommend it. If

0:39:21.480 --> 0:39:24.799
<v Speaker 1>you have the opportunity to watch it, go check it out.

0:39:25.160 --> 0:39:29.000
<v Speaker 1>I happen to watch it on Amazon Prime, but wherever

0:39:29.040 --> 0:39:31.080
<v Speaker 1>you might find it, uh, I think it's worth a watch.

0:39:31.239 --> 0:39:34.160
<v Speaker 1>So that's a thumbs up for me. Well, that wraps

0:39:34.239 --> 0:39:37.120
<v Speaker 1>up this discussion about Henty Lamar and frequency hopping and

0:39:37.160 --> 0:39:41.600
<v Speaker 1>celebrity inventions. I'm sure I will someday revisit celebrity inventions.

0:39:41.600 --> 0:39:42.920
<v Speaker 1>There are a couple of others out there that are

0:39:42.960 --> 0:39:46.000
<v Speaker 1>kind of interesting, some of which aren't necessarily zany, but

0:39:46.040 --> 0:39:50.000
<v Speaker 1>are genuinely interesting and useful. Uh, some of which are

0:39:50.440 --> 0:39:53.080
<v Speaker 1>more in that zany category. So maybe I'll do an

0:39:53.080 --> 0:39:54.920
<v Speaker 1>episode about that again in the future. If you have

0:39:55.040 --> 0:39:57.680
<v Speaker 1>a suggestion for an episode of tech Stuff, maybe you've

0:39:57.719 --> 0:40:00.600
<v Speaker 1>got a company or technology or person in tech I

0:40:00.600 --> 0:40:03.600
<v Speaker 1>should cover. Send me a message. The email address is

0:40:03.680 --> 0:40:06.680
<v Speaker 1>tech Stuff at how stuff works dot com, or drop

0:40:06.760 --> 0:40:09.120
<v Speaker 1>me a line on Facebook or Twitter. The handle at

0:40:09.160 --> 0:40:12.440
<v Speaker 1>both of those is tech Stuff h s W. Remember

0:40:12.480 --> 0:40:15.279
<v Speaker 1>to follow us on Instagram and I'll talk to you

0:40:15.320 --> 0:40:23.840
<v Speaker 1>again really soon. For more on this and thousands of

0:40:23.840 --> 0:40:36.000
<v Speaker 1>other topics, is it how stuff works dot com.