In search of a definitive album rating formula

When it comes to my iTunes library, I’m a regular statistics nut. Sure, my library exists primarily for my own enjoyment, but it contains so much organically-compiled data about my habits and tastes that I can’t help but want to take a look at it and find out what the data says about my interests.

But for a while now, I’ve struggled to quantify, tabulate and analyze the overall sense of my library. Which of my albums albums are truly the greatest? Which artists, when the sum of their parts are combined, are really my favorites? And by how much? I want numbers.

None of the iTunes stats options available at the moment give me the type of results that I want. The Album Ranking AppleScript provides a simple average that skews toward albums with fewer tracks. SuperAnalyzer provides a top 10 list that is skewed toward albums with more tracks.

Most iTunes stats tools simply provide averages or totals of play counts and/or star ratings. Averages, while somewhat useful, can be misleading. An album could have a handful of awesome songs and a bunch of filler and still rank as well as and album that’s consistently good, but without much breakout material.

And that can be frustrating to me, because, in terms of album or artist worth, I tend to value the ones with consistent performance.

Take, for example, my recent run-down of Air’s discography, specifically the albums 10000 Hz Legend and The Virgin Suicides. After many years of listening, my artistic impression is that Virgin Suicides is ever so slightly the better of the two. The songs on Legend vary from excellent to clunkers. Suicides is overall pretty good, with only one exceptional track. However, averaging my ratings shows that Suicides is a 3.85 while Legend rates as an even 4.

So, to reward albums that don’t veer wildly around the quality wheel, I’ve developed my own album rating formula that takes into account the consistency of all the star ratings on a given album.

The Formula

album rating = (mean of all songs + median of all songs) - standard deviation of the set

The mean sums up the whole of the album. The median shows the state of the album at its core. The standard deviation indicates the variety of the individual ratings. The result is a number on a scale of 1 to 10. (Alternately, divide that number by 2 to return the result to a 5-star scale).

Let’s take a look at the formula in action. Suppose we have two albums with twelve songs each. The first is generally excellent, but varies in quality. The second is good stuff throughout.

Ex. 1 Ex. 2
5 4
4 4
5 4
2 4
4 4
5 4
5 4
2 4
5 4
3 4
5 4
3 4
Mean 4 4
Median 4.5 4
total 8.5 8
STDEV 1.21 0
Score 7.29 8

This table shows the individual star ratings for the two theoretical albums, as well as all the statistical data, as calculated by Excel. As you can see, both albums average score is the same (4) and Ex 1 even has a higher median than Ex 2. But, because the quality of Ex 1’s songs vary a great deal, its standard deviation is substantial, so much so that its album rating becomes 7.29 (or 3.645 on a 5-star scale) when my formula is applied. Ex 2’s score suffers no penalty and its score remains 8 (4). In this case, the standard deviation awarded Ex 2 a bonus for being of uniform quality.

Let’s take a real world example, the two Air albums I mentioned above.

10 kHz Legend Virgin Suicides
4 4
5 4
4 4
5 3
5 3
4 4
3 5
4 4
3 4
3 4
4 4
4
3
Mean 4 3.84
Median 4 4
 
total 8 7.84
 
STDEV 0.77 0.55
 
Score 7.23 7.29

When the formula is applied to my ratings for each, the scores for 10000 Hz Legend and The Virgin Suicides become 7.23 (3.62) and 7.29 (3.65), respectively. So factoring in the standard deviation results in a score that more closely reflect my thoughts of those two albums.

So what does this mean? I’m not sure exactly. In practice, I could whip up some listy goodness and see which albums are truly my favorites. A comprehensive analysis would be cool. I’d love to see the distribution of my album ratings. However, that would require more programming skills than I have. Though that could be a good project to help me learn.

Out of curiosity though, I have picked 10 albums, just to see how they rate. One provision, of course, is that every song on an album must have a rating before the album score can be calculated. These ratings are on a 5-star scale.

AVG My Score
Radiohead – OK Computer 4.5 4.41
Air [french band] – Moon Safari 4.5 4.39
Nirvana – Nevermind 4.5 4.24
Mouse on Mars – Radical Connector 4.33 4.23
Ratatat – Ratatat 4.45 3.97
Nine Inch Nails – With Teeth 4.31 3.77
The Strokes – Is this it? 4.09 3.7
LCD Soundsystem – LCD Soundsystem 4 3.68
Basement Jaxx  –  Remedy 3.73 3.51
Prefuse 73 – One Word Extinguisher 3.82 3.47
Weezer – Make Believe 3.58 3.21

This is by no means a top 10 list, but it is interesting to see where things ended up. It’s also interesting to see how minor fluctuations in star ratings can change the final score. For instance, if that Ratatat album had one more 5 star song in place of a 4 star song, its median number would become 5 and its album score would jump to 4.51. Lower a 5 star to a 4 star and the score only drops slightly to 3.93. I don’t know if this is a flaw in the formula or a reward for albums that have a lot of good songs.

Problems and issues

Small data sets. These are troublesome in all statistical circumstances and this formula is no different. Albums with only one song will, by definition, not have a mean, median or standard deviation, and that kills the formula with a divide-by-zero error. Also, because the formula uses the average rating as a component, albums with a low number of songs will tend to skew one way or the other.

In my library, Boards of Canada’s EP In A Beautiful Place Out In The Country has four fantastic songs and ranks at 4.63, higher than anything on that list above. As a release, I’d say that’s accurate, but I’m sure it doesn’t surpass OK Computer. I would be interested to see a chart of how the album score changes as the number of tracks on an album increases.

Additionally, I haven’t figured out a way to rank partial albums, i.e. albums where I either don’t own all the songs or albums where I’ve deleted songs I didn’t like. For now, I’m just excluding them altogether.

Still, I’m fairly pleased with the results I’ve been getting as I run various albums through the formula. It’s working for me and my own song rating system, but I’m curious to see how it works with someone else’s.

Fortunately, Webomatica has posted his song-by-song ratings for The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band. Using his numbers, the average for the album is 4.38, while my formula renders a 4.28. I’d say that’s a consistently good album.

::

Here’s a Microsoft Excel file you can download. Plug in your star ratings to find the album score. AlbumScore.zip

Speeding up Podcasts part 2:
Using Audacity to speed up MP3s

Part of the Faster Podcasts Series

  1. Speeding up podcasts:
    Listen to more, faster – Part 1
  2. Speeding up Podcasts part 2:
    Using Audacity to speed up MP3s
  3. Speeding Up Podcasts part 3: Make Yourself an Audiobook

faster podcast

I established in the previous article that with all the interesting content out there, it can be quite daunting to listen to all those great podcasts. The ease with which iTunes lets you discover, subscribe to and manage podcasts can quickly lead to an overwhelming number of episodes and timespan to get through. "Podcast Overload" is a very real possibility.

I also noted in that article that Apple’s Quicktime Player application can be used for faster playback… if you happen to be sitting at a computer. But what if you want to take advantage of the "pod" part of a "podcast" and listen on-the-go?

Luckily for us all, there are a couple of ways to speed up your spoken word audio before you pack it up and take it with you. Specifically, there are two main approaches, and each has its advantages and weaknesses. The first method involves using an audio processing program to decrease the total running time of a podcast before copying it to your iPod. Alternately, if you have an appropriate model (4G and later or any Nano), you can format your files so that the iPod itself adjusts the playback speed in real-time.

This approach has two principal advantages:

  1. Flexibility: Audio processing gives you the greatest amount of control over the final playback speed of your podcasts. Speed it up by 10% or 200%, whatever works for you.
  2. Organization: Because you are editing and replacing the original downloaded podcasts, you can maintain the organizational functionality present in iTunes + iPod.

However, this approach comes with trade-offs:

  1. Processing time. Running an audio file through a sound editor takes time. If you want to increase the playback speed, you have to run it through the processor before dropping it onto your iPod.
  2. Potential Zero-sum changes. Whether a project is even worth attempting depends on the likelihood of a net gain in time. If it takes you 5 minutes of computer use + processing time to shorten audio by 4 minutes, then you would have been better off just listening to it in the first place. This consideration is increasingly relevant for older computers with slower CPU speeds and longer processing times.
  3. Inflexibility. Ironically, the other disadvantage of this approach is inflexibility. Once you’ve processed the file, you’re stuck with it. If you’ve happened to set the speed to a rate that is uncomfortable or impossible to listen to, then you’ll probably have to re-download the podcast and try again.

audacity icon

Bearing all that in mind, just how does one speed up a podcast? Easy: Audacity, an open-source audio program that’s packed with features, cross-platform, fairly simple to use, and of course, free. In fact, the program is most likely used in the actual production of many of the podcasts you’ll be modifying.

Additionally, you’ll need the LAME mp3 encoder to save your processed files back to mp3 after Audacity is finished with them.

Audacity also supports batch processing (called "Chains" in its parlance) that allows you to open multiple files, run filters, and save back to mp3 with just a couple of clicks. Not bad, but how’s it work with iTunes?

In basic form, the workflow looks like this:

  1. Podcast is downloaded. MP3 file is saved into your iTunes Music > Podcast folder and the appropriate entry appears in iTunes’ Podcast panel.
  2. Said mp3 file is opened in Audacity. Modifications are made.
  3. New, faster mp3 file is exported.
  4. Original mp3 is replaced.
  5. iTunes entry is updated with a shorter playing time.
  6. Profit?

Alright, now that we know what we’re in for, let’s walk through the procedure.

Install and Configure Audacity with LAME mp3 encoder


click to enlarge

Download Audacity and LAME encoder for your system. Version 1.3 (beta) is required for batch/chain processing.

Now to configure.

Once Audacity is installed, we need to tell it where the LAME encoder is. So, launch the program and select the Preference menu item. Under the file formats section, choose "Find Library" next to MP3 Export Setup. Also, choose the bitrate to save your modified podcasts at. Most podcasts are published between 64kbps and 128kbps. In my experience, 64kbps provides sufficient quality for listening to spoken word, though you should adjust it to fit your preference.

Next, we just need to set up a Chain. Chains are like scripts inside Audacity that automate a string of operations. For our purpose, we need to build a chain that imports the mp3, changes the tempo, and re-encodes it back to mp3. It’s really easy, so let’s get it set up.


click to enlarge
  1. From the File menu, select "Edit Chains." You’ll be presented with a box showing the pre-configured Chains.
  2. Click "Add" and give the Chain a name (ex: 25%Faster)
  3. Then click "Insert" to add a step to the process. You don’t need to tell the Chain to import a file. That happens automatically when you run it. So the first thing to do is select "Change Tempo" not Change Speed. Change Speed will affect the pitch of the audio, like speeding up a cassette tape or turntable (aka "chipmunking"). Change Tempo leaves the pitch as it is.
  4. In the Parameters field, enter to amount to speed up by. 20% will result in 48 seconds for every 60. 200% will result in 30 seconds for every 60.
  5. Next, click Insert again and select "ExportMP3." That will complete the Chain.
  6. At this point, you can create multiple Chains for different speeds if you want. One for 15%. One for 50%, etc. When you’re done, close the Chains window.

Two steps, that’s it. Change tempo -> ExportMP3.

Let’s Get Speedin’

Now that Audacity is all set up, we can do the actual processing.

  1. From the File menu, select "Apply Chain" and select the one you created earlier. Click "Apply to files."
  2. Navigate to where your podcast files are stored. Unless you’ve changed your iTunes settings, they’ll be in your "iTunes Music" folder, in a folder called "Podcasts."
  3. Select the files you want to speed up. On a Mac, hold down the Command/Apple key to select more than one file. On Windows, use the Control key.
  4. Click "Open." Audacity will begin processing the files. When it’s finished, you’ll see a folder called "cleaned" with your originally downloaded files. Inside that folder is your shiny new faster podcasts.
  5. Move the new files out of the "cleaned" folder. When asked if you want to over-write the existing files, say yes.
    IMPORTANT: If you want the option of re-processing the files at a different rate, copy or duplicate (don’t just move) them to another folder before replacing.
  6. Open iTunes and click on Podcasts from the source view. Select the episode that you modified. The time should change, but if it doesn’t, get info on it. That will force iTunes to refresh the display.

podcast before and after

Ta-da. Welcome to the world of faster podcast listening. The next time your iPod is updated, the new faster podcasts will be copied and you can take them on the road.

Star Trek sold out at iTunes Store?

UPDATE March 26: After nearly a two month stint of being offline at the iTunes Store, the Star Trek TOS is back. The complete first season is available in its original broadcast form. Additionally, newly remastered episodes from the first season are available in their own section. iTunes is still the only source for them in their uncut form.

::

star trek on itunes

Star Trek tv shows are suddenly missing from the iTunes Store. Both the Original Series and Enterprise are completely gone. The movies are still there though. I wonder what’s up with that.

A quick scouring of the internet doesn’t turn up any information, so who knows.. Maybe the store is just out of stock… 🙂

Seriously though, this is surprising. I don’t have any figures, but I bet the shows were selling well. Especially the new remastered episodes that were available. The iTunes Store was the only place to download uncut versions of select remastered episodes.

According to the boards at startrek.com, the eps were pulled for a “technical reason.” We’re left to speculate what that actual reason was, but it would be pretty swell if CBS and Apple were building a Star Trek portal/store-within-a-store/wormhole inside iTunes.

In defense of digital music files

Volkher at livingwithmusic posted the other day a rather thoughtful treatise against digital music files as a medium. He does a good job of bringing up all the relative shortcomings of abandoning physical media, including the effort required to encode/download and properly organize/tag files as well as the burden and cost that goes into storage and preventative backups. And he’s right on the money about picking an audio format that may or may not be around for the long haul.

It’s a valid argument; you should go read it. But as one of those “young folks” who’s been living with mp3s and related files for 10 years now, I’d like to offer a friendly rebuttal, because digital music files do have much to offer, despite the occasional hassle.

Firstly though, I’m going to side-step rights-management and other DRM-related issues. It’s quite possible to build a large collection of digital music and never touch the stuff. Plus, with all the talk lately about eliminating DRM from the marketplace entirely, it may well not be an issue in the near future.

Carrying on then, why embrace digital music? In my case, the number one reason is convenience and flexibility. Using iTunes, it only takes a handful of clicks to set up a playlist that will last all day. That playlist will only include songs that I like, ignoring ones that I might not care for. I can listen to one hundred different artists as easily as I can listen to Radiohead’s complete discography, including live shows and unofficial tracks. No need to organize or hunt for physical CDs, or interrupt the music to change discs or skip ill-favored songs.

With some extra up-front effort and Smart Playlists, I can turn my library into a self-refreshing and randomized jukebox that I can assume control of at any moment. With an iPod, I can take it all with me, wherever I go. It truly is awesome stuff.

Another reason I enjoy digital music is the physical space savings. I still have a large number of CDs, even though the vast majority of my music listening is done via iPod or iTunes. Finding a place to put all of those discs has proved challenging and, after 19 months of living at my current house, most of them are still boxed up and hard to access. That’s fine though; they can stay in the garage/closet/attic because I already have everything I need on my hard drive.

Additionally, expandability is a significant motivation for taking to digital music. As a physical collection grows, the tyranny of the shelf kicks in, which ultimately limits the collection’s size and imposes increased time-overhead on organization and media retrieval. iTunes offers no practical limit to the number of songs it can manage. Hard drive space and memory are the only true limitations (though a computer’s processor speed can become an issue, especially if there are a large number of live-updating Smart Playlists). Currently, I’m storing about 18,000 files (between my library and my wife’s) + a backup drive in the same physical space as about 6 CDs. I could double the amount of songs and hardly use any more desk space.

Of course, this digital utopia is not without its pitfalls, many of which Volkher mentioned. Number one, by far, is data security and integrity. Hard disk drives are notorious for failing, whether though a mechanical fault or corrupted disk header. And they usually fail inexplicably and at exactly the wrong moment.

A hard drive crash can obliterate a library of thousands in an instant, often with no warning whatsoever. I know; it’s happened to me on multiple occasions. By contrast, a scratched CD might lead to the loss of that CD and nothing more.

Thus, a workable, redundant backup system is necessary to protect against irrevocable and irrecoverable catastrophe. The cost and effort of doing that, of course, increases with the amount of data to be backed up. A 10GB library is easier to deal with than a 100GB.

In his post, Volkher posits a figure of one terabyte of digital music, once all is said and done and a large collection is encoded and/or downloaded. But is that a meaningful gauge? Just how much music will fit in a terabyte?*

  • At 128kbps, the bitrate of standard iTunes-purchased AAC files, one terabyte is 18,641.35 hours / 776.73 days / 2.12 years of non-stop, continuous music listening.
  • At 191kbps, the average bitrate in my library, one terabyte is 12,492.63 hours / 520.53 days / 17.1 months of continuous listening. That number is about 11 times the size of my current library.
  • Suppose you’re a true audiophile and only deal with lossless encoding, such as FLAC or Apple Lossless format. The average bitrate of all the lossless songs in my library is 728kbps, which is still nearly 3,277.6 hours / 136.6 days / 4.48 months worth of continuous audio.

*these numbers do not take into account file overhead, album art, etc. However, it seems pretty clear that one terabyte will hold a lot of music.

You’d have to own a seriously HUGE collection (roughly 4000 full-length CDs, lossless compression; 7500 CDs, extreme quality 320kbps mp3s) before a terabyte is a serious option for the working copy of your library. I know there are people who can claim those numbers, just not the vast, vast majority of music listeners.

Heck, I consider myself a respectable avid collector/listener/explorer of music and it took me a full year to listen to each and every song in my library, a library that is the equivalent of ~1400 full-length records.

Hard disk storage is cheap and getting cheaper. Practically speaking, two 500GB drives would sufficiently provide enough storage for a live copy and backup of all but the most copious of collections. Add a third for redundancy, if you’re paranoid. At $230 a piece as I write this, the cost of the drives compares favorably to all the shelving and organizational furnishings needed to manage a large physical collection, even those from IKEA.

Which brings me back to physical space savings: how does one translate a digital library into a physical space? Let’s use numbers from my library to hazard a guess. A trusty ruler tells me that a standard CD jewel case measures 11mm thick: a “CD unit” for this purpose. FreeDB tells me that the median number of songs per CD is 12 (with an average of 13). Therefore, I can estimate that each song on a CD takes up .917mm of physical space. Applied to iTunes, the 14,554 songs in my library would use up the equivalent of 1443 “CD units” or 15,872mm or 52.1 feet of “shelf space.”

That number is based on the assumption that a digital library consists entirely of full CDs. When considering partial albums and single tracks, the space savings is even greater. The single track of Nate Dogg and Warren G’s Regulate in my library actually saves me the full 11mm of space rather than .917, since I don’t have to own the full album just to have that one song.

Despite my continued devotion to the digital music scheme, I must admit that I do miss some of the concrete and tactile aspects of handling a physical record or compact disc: album art, liner notes the satisfactory “click” of snapping a disc into place and-contrary to what I’ve said above-the awesome feeling of standing back and viewing a neatly organized array of records on shelf after shelf. But at this point, for me, it’s all digital and there’s no going back.

Volkher goes on to discuss the inherent uncertainty of choosing an audio file format that may or may not be in use and supported by audio devices in times past the immediate future. And he’s got a valid point. I know from experience. Long ago, a portion of my digital music collection was in the MP2 format, which was largely made defunct by the growth of MP3 tools and players. The death knell for me was the iPod. I was dismayed when I bought my first one and discovered that it didn’t support MP2, forcing me to convert those portions of my library into something more usable.

So futureproofing is an ever-present concern. But, like the compact disc and vinyl record, there’s no reason to believe that mass-market digital formats won’t be around for a very long time. The use of MP2 was never really widespread. MP3 and AAC however have users in the tens of millions. Many people and many companies have invested a lot of resources into those formats. They’re not going to die any time soon. In fact, the patents on the MP3 format begin to expire in 2011, just 4 years away. I’d wager that individuals, corporations and open source communities will have a field day with it in short order, continuing to breathe life and support into software and hardware for decades.

Look at the passion with which gamers and code archivists continue to resurrect, port and support obsolete games. Just yesterday I ran across a 30+ year old command-line game called Super Star Trek that certainly would not be playable on today’s technology. But thanks to the efforts of a dedicated user, there is now a refreshed version for Mac OS X, Windows, Linux, OS/2 and DOS.

Likewise, I expect that in three decades time, I will fully be able to enjoy my collection, no matter what size it has expanded to. I believe that the flexible nature of software will make it easier to maintain support for these formats as they age, unlike hardware-dependent media (I’m looking at you, reel-to-reel, 8-track and increasingly, cassette tapes).

The fact that I was able to easily convert my MP2 files to MP3 is a strong argument for digital files. Just try converting a reel-to-reel tape without a reel-to-reel player.

I admire Volkher’s decision to keep his music in the real world; I know there’s no better feeling than finding an old, rare, long-sought-after gem. But for me, the future is all digital. It has its trappings, but they are easy to overcome. The rewards outwiegh the risks.

So, now if you’ll excuse me, I have a playlist to build.

mp3 waveform

iTunesRegistry is now open source

itunesregistry

The ultimate in iTunes statistics and library analysis is once again live and on faster/better hardware. Yes, my music-listening friends, the iTunesRegistry is back and better than ever.

Faster processing, more graphs, interesting facts. The works.

It’s open source to boot. The site runs on PHP+MYSQL and now you too can grab the code, muck with it and enhance it on your own. Mac users can probably run it locally using their built-in versions of Apache.

If you’ve not seen the site before, head on over and create an account. Then upload your iTunes XML and let the statistics begin!

Speeding up podcasts:
Listen to more, faster – Part 1

Part of the Faster Podcasts Series

  1. Speeding up podcasts:
    Listen to more, faster – Part 1
  2. Speeding up Podcasts part 2:
    Using Audacity to speed up MP3s
  3. Speeding Up Podcasts part 3: Make Yourself an Audiobook

faster podcast

The first in a multi-part series dealing with speeding up the play rate of podcasts so you can listen to them faster and fit more subscriptions into your schedule. Part One: The problem at hand and a simple computer-based solution.

UPDATE: Toward the end of this article, I point to some scripting techniques to automate the acceleration of podcasts with QuickTime. Well, Mac users, it’s your lucky day because I went ahead and complied an AppleScript that opens a selected podcast in QuickTime Player and allows you to set the playback rate. I’ve taken to calling it PodFast. Download it.

Dilemma

After about a year on hiatus, I recently got back into the swing of listening to podcasts. The podcastosphere has exploded in the past twelve months and beyond old favorites such as Sound of Young America and EscapePod, everyday seems to introduce me to new, awesome content. There’s Grammar Girl’s writing tips, and Darker Projects’ Section 31 adventures, the WordPress community podcast, foreign languages, and NPR as well as many more news, education and entertainment podcasts. Heck, even the U.S. Department of State has a podcast.

With all that good stuff, it’s easy to become a podcast junkie at the expense of your music, books, magazines, TV, movies, pets, friends, family and career.

With each compelling episode, you crave more and more, to the point where they start to seriously suck up your time. While some, like Grammar Girl’s, only run about 5 minutes, the average length of a podcast episode ranges from 20 to 40 minutes. Some podcasters are aware of the time burden that a podcast can create, but even those who try to produce short episodes tend to drastically underestimate the amount of time needed to convey all the info they wish.

Solution: Speed it up.

Most recorded media can be sped up by a few percentage points without any perceptible change. Depending on the particular characteristics of the sound, podcasts of spoken word can usually maintain their intelligibility at significantly higher increases. The iPod’s built-in accelerator increases playback in real-time by 20% without changing the pitch or interfering with the ability to understand what is being said (though it does falter when dealing with low, muffled voices).

That’s great if you happen have a later-generation iPod. But not everyone does, so I would suggest to all podcast producers that time compressing your episodes by 5-10% has its benefits. For podcasters there’s smaller files and less bandwidth used, and subscribers enjoy faster downloads and shorter listening times.

While some podcasters might adopt that practice, it is probably never going to become widespread. So lets us take an end-user centric approach. What solutions exist to speed up a podcast once it is downloaded?

Computer-bound playback

quicktime logo
A lot of people listen to podcasts while sitting at their computer. The iTunes program itself, unfortunately, has only one speed: normal. When you press play, what you hear is what you get. You’re stuck with whatever the podcaster uploaded, whether it’s spoken with perfect tempo or with an agonizingly slow drawl. There’s just no option to adjust the speed on either a global level or for individual tracks.

QuickTime Player however, does allow you to easily change the playback rate in real-time. You can speed through filler material as effortlessly as you can slow down complicated sections (especially useful for foreign language podcasts). QT Player has the additional advantage of supporting video podcasts, so you can adjust the play rate of those as well. Currently, no portable player can do that.


click to see larger

To open a podcast file in QuickTime Player, select its entry in iTunes’ Podcast panel. On Mac OS X, select “Reveal in Finder” from the File menu (command R). On Windows, select “Show in Windows Explorer” from the file menu (control R). You can then drag the mp3 to QuickTime Player.

QuickTime is required by iTunes, so if you have it installed, then you already have QuickTime. To access playback options, select “Show A/V Controls” from the Window menu.

Scripting

You can streamline the process of getting the files into Quicktime by using some of these scripting techniques at MacOSXHints.com. They include ways to automatically set the playback speed when the file is sent to QuickTime and increase the file’s play count so that iTunes will continue to download fresh episodes. It’s mostly AppleScript for the Mac, but there is one JavaScript for Windows option.

If you use iTunes to manage your podcast subscriptions and downloads and do most of your listening while working at your computer, then QuickTime is pretty much the most simple, best way to speed up that process.

But what if you use an iPod or other mp3 player to make your podcasts portable? There are a couple methods for accelerating your listening on-the-go. Try this one.

Choose Your Own Adventure: Interactive Fiction for iPod

Yeti

Text-based games for the iPod, known generally as iStories, are nothing new. Using the basic HTML support found on device’s Notes feature, some people have been putting together text-based adventures for a couple years now. Heck, even I sketched out the beginning of a story a while back, but never completed the project.

In its most basic form, the idea is to load a series of inter-connected text files into the Notes folder. A reader then selects the start file and upon finishing that section, is presented with a dilemma, forced to choose a course of action. The choice determines what happens next in the story. Through a series of choices, the reader eventually ends up at one of several possible endings. The iStories concept is very much like the Choose Your Own Adventure series of children’s books.

So it shouldn’t be a surprise that the CYOA franchise is getting in on the action. The publisher, Chooseco, relaunched the brand in 2005, which had laid dormant since 1998. The CYOA online store is offering a free download of an iPod Choose Your Own Adventure story, The Abominable Snowman, based on the first title of the relaunched series.

After playing around with the story for a while, I gotta say that it’s a pretty sophisticated release. This game isn’t just a bunch of text files. It takes advantage of the “museum mode” found on recent generation iPods to integrate images and sound into the storytelling.

The Abominable Snowman comes as a 20ish MB download that includes an installer program. When run, the installer copies all the text files to an iPod. It then opens iTunes and adds the 137 associated mp3 files to the iTunes library and finishes by syncing the library with the iPod.

The way the story works once copied to the iPod is rather ingenious. While technically, one can simply read the story, the text can also be read to you by the author, R.A. Montgomery, who is also the creator of the series. At key moments in the plot, the narration stops and the reader is presented with a “click for image” link, which loads a silent mp3 that has album art attached, presenting a visual to accompany the story.

Of course, the Choose Your Own Adventure series is aimed at children. This is by no means high literary art. But it does push the limit of what an iPod can do and that’s pretty cool.

The Abominable Snowman is free for “beta testers” through Jan. 25. Compatible with 3rd-generation iPods and later. Use of images requires iPods that support album art.

Choose Your Own Adventure image on iPod
An image from Abominable Snowman on iPod.