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Tutorial: How to improve your Wi-Fi signal
Jan 1st 2013, 14:00

Tutorial: How to improve your Wi-Fi signal

There are loads of ways to get a faster wireless network connection at home - some of which are more practical than others.

You can hire some heavy machinery and knock down a few walls in your house so the Wi-Fi signal can travel through more efficiently. You can chuck out your current network hardware and buy a new set with the latest specification.

Or you could go down the easier, less destructive, and perhaps most importantly, free route of making sure your network is operating on the right channel and tweaking its settings for maximum speed. It's much like tuning a radio to a different station.


There's a simple reason why you might need to change your router's network channel. When there are many other wireless networks in your local area (which is likely if you live in a city), wireless signals can clash, causing interference that makes network traffic slow down.

There are several possible channels that your wireless network can operate on. We're going to show you how to look at the traffic in your area and move your network to the least clogged part of the spectrum, ensuring you get the best results.

Step-by-step: Boost your wireless connection

1. Download time

step 1

To analyse your local network traffic in greater depth, we're going to use a tool called inSSIDer. It's a full network analyser capable of some incredibly complex things, but we're really only going to skim the surface of its abilities. Download and install the program from here - just click 'Next' repeatedly to get it installed.

2. Scan for networks

step 2

Run inSSIDer - you'll find it inside a folder marked 'Metageek' in your Start menu. Click on the tab marked '2.4GHz channels', then look at the top of the screen for a button labelled 'Start'. This sets inSSIDer hunting around your local area for networks. It'll probably find many more than Windows does. Click 'Stop' when you're done.

3. Find a channel

step 3

Look at the graph - this is a map of where the networks in your area fall along the 11 main wireless channels. Their height represents their signal strength from your current location. It's down to you to interpret your graph, since it won't be the same as mine. Find an area with some empty space, or a quiet channel, and note its number down.

4. On the router

step 4

The channel you picked will be your network's new home. If it's nice and clear, you should get a decent speed boost. To change the channel on your router, you need to log in to its admin interface, which is different for every model. I'll show you the steps we took for our Asus WL700ge - you may need to search the internet for specifics.

5. Log in

step 5

I'll start by firing up a web browser and going to the local IP address of my wireless router - in this case This brings up the login screen, where I need to enter my credentials. If you don't know yours, it's likely they haven't been changed from their defaults, so dig out the manual or search online and you should find them.

6. Set the channel

step 6

From here I need to access the advanced settings screen, which gives me more options. It's easy to change the channel on this particular router - there's a drop-down box in the middle of the screen that lets me do it. While I'm poking around, I can also look for a number of other settings that will keep my router speedy.

7. More tweaks

step 7

I'm given the option of setting a wireless mode - in this case turning off the older 802.11b service. If you still have devices that use it, you'll want to leave it switched on, but since I only have 802.11g devices in my house, I can safely switch it off and claw back a tiny speed boost. Then it's time to head to the advanced wireless page.

8. Radio settings

step 8

Here I can fiddle with all sorts of things, but I'll stick to the bits I know will help my wireless speed. Turning the radio power up should mean I get better signal at a distance. The 'afterburner' mode is only useful if you have wireless cards or dongles in your PCs that support it, so I'll leave it off. Frame burst, lower down the page, is a must.

9. Check the changes

step 9

After you've made the changes, you'll need to apply them and save your settings. Your router will probably reboot. Once everything is back online, run inSSIDer again to check the results of your changes and ensure that your wireless connection has moved to its new channel. Try a download - you should see the benefits immediately.

10. Speed for free

step 10

So you've checked out the wireless channels in your area, found the ideal one for your network and hopefully, depending on your router, switched its channel to an empty space. If it seems to have made things worse, there may be some other interference in the new channel, like a cordless phone, so try a few until you find the best one.

Explained: Crowdfunding: what it is and why it's important
Jan 1st 2013, 12:00

Explained: Crowdfunding: what it is and why it's important

Think of a crowd. Think of a mob. Think of a mass. The collective nouns for 'people' mostly come with negative connotations because, in the English language at least, such large groups are regarded apprehensively.

If a third party talks about a crowd's 'mind', then that collective intelligence is automatically levelled down, sometimes to stupidity and more often to madness (except in obscure SF or fantasy).

Think of Charles Mackay's seminal book Extraordinary Popular Delusions and the Madness of Crowds, focusing on economic bubbles and mass movements. Perhaps this fear of the crowd is a literary hang-up from ancient times, when the mob-fearing bourgeoisie and aristocracy owned the printing presses (say, before 1998 - Political Ed), or perhaps large groups of people just tend to behave in scary and antisocial ways.

Whatever the reason, we are fundamentally scared of crowds, and the main products of this fear have been theories about coping with them and avoiding them, not benefiting from them.

Yet in recent years, the crowd has been getting more and more attention. It seems that earlier fears of crowds simply played out of our limited understanding of their dynamics. Now we've found ways of utilising the crowd's processing power; now, several technologies, such as Amazon's Mechanical Turk, have allowed companies to 'crowd-source' ideas - outsourcing difficult or lengthy tasks to the crowd, which can complete them more efficiently and cheaply.

And, more importantly for us, it started crowdfunding - the use of crowds to pay for and approve projects - often creative ones.

The vast majority of crowdfunding platforms are websites that allow anyone to establish a project, set up a pitch, and establish a funding goal, allowing anyone to donate money to their idea, either philanthropically or in return for certain associated rewards.

More recently, they've combined social media technology so players can track what their friends are funding and allow projects to go truly viral. And, in doing so, it may have changed the future of game and technology development forever.

How crowdfunding started

Crowdfunding began in a curious place. There are three notable starting spots. First, there was the 1997 US Marillion tour, which was funded by fans, who raised $60,000 without the involvement of the band themselves. Second, there was the Nine Inch Nails album Ghosts I-IV, which was given away for free, with superfan-targeted versions carefully tiered by price and exclusivity.

Finally, there was ArtistShare, the first dedicated crowdfunding site, which was founded in 2000 to help artists pay for albums. The first completed project on ArtistShare won a Grammy award, and its artists have received 13 nominations since.

Like these examples, the vast majority of crowdfunded projects are entertainment. Professor Yan Chen of the University of Michigan School of Information thinks there are two reasons for this: "First, traditional funding sources for arts and humanities have been cut more drastically than other areas, such as science and engineering, in recent years. Second, the deliverables [final products] are easily evaluated by the laypeople, and thus more suitable for crowdfunding."

Andy Payne, serial games entrepreneur, says: "It's come out of bank lending and investment grinding to a halt and creative people getting tired of talking to people who don't know what they are talking about."

There are now crowdfunding platforms for pretty much every project under the sun. ArtistShare helps musicians find sponsors to let them complete pieces; Fundageek pays for technical innovation and scientific research; Fundable pays for start-up businesses; GoFundMe helps people who are recovering from health problems; Indiegogo does indie games; Loudsauce crowdfunds social awareness advertising campaigns; Mobcaster creates TV pilots; Weeve is a non-profit crowdfunding site for non-profit organisations; and focuses on funding for breast augmentations. We kid you not.

Getting kickstarted


The major funding platform at the moment is Kickstarter. Since it launched in April 2009, over 2.5 million people have used it to pledge over $389 million in funding for more than 74,000 creative projects. Of that, $333 million has gone to projects that met their targets and were ultimately successful.

The site has a success rate of 44 per cent, skewed down by a few projects that never get any money. Most projects have goals in the $1,000-$10,000 bracket, but 14 projects have broken a million dollars (we've listed three in the 'KickStudy' boxes around this article).

Why is it so popular? Well, part of it is the snowball effect that made World of Warcraft and Facebook the world's leading social game and network, respectively. Another factor is that Kickstarter is an all-or-nothing, no equity funding site. This means that when you set your target for funding - be that $10 or $10,000,000 - you have to raise at least that much, or you get nothing.

The 'no equity' clause means that those who pledge money via Kickstarter don't get any share of the company (unlike other platforms like Gambitious). If you help fund a project through Kickstarter, you're not guaranteed any return; if the project fails, you get nothing.

What you get if it succeeds is specified by the project creator. He or she can do this by setting up funding tiers of say $1, $5, $10 and so on. Once a donor passes a tier, he or she gets the benefits associated with that tier.

What Kickstarter doesn't allow is for users to get either a profit, or a share of the project they're funding. Over the last two years, participation in funding projects has surged to such a degree that we're predicting a hollowing out of major companies as a generation of entrepreneurs decide to go it alone.

Andrew Schrage of Money Crashers tells us: "Crowdfunding transactions were roughly $1.5 billion in 2011, with some estimates doubling that figure for this year. Some analysts say it could reach $500 billion in 2013."

The biggest success stories of crowdfunding, mainly through Kickstarter, are games and technology. For games, the watershed project was Tim Schafer's Double Fine Adventure.

Fine art

Boot hill heroes

Schafer was behind the legendary adventure games Monkey Island and Grim Fandango, and Double Fine is his studio. It used to work on projects for major publishers, typically producing AAA games that were too quirky, clever or hardcore to sell particularly well, and it was struggling badly.

Each new problem made it spiral closer to bankruptcy and the team seemed doomed. When its over-hyped Brütal Legend, a heavy metal action game starring Jack Black, was canned by Activision then failed to sell for EA, the sequel was cancelled.

Schafer sent his team away and told them to come up with lots of small games that could be sold as download-only. These all got publisher support, kept the company going and garnered critical success (and popular adulation).

But although they satisfied the team's creative itch, they didn't refill the coffers. Schafer still wanted to make a new adventure game, but no one would buy it. As his long-time collaborator Ron Gilbert (creator of Maniac Mansion) said: "I can tell you that if you even utter the words 'adventure game' in a meeting with a publisher, you can just pack up your spiffy concept art and leave."

So Schafer bypassed the publishers and set up a Kickstarter in March this year. His pitch to the What do you get when you mix spaghettie westerns with SNES RPGs? Boot Hill Heroes public was straightforward: you trust me and my company, you know we'll make something great, you can't get new, good adventure games any other way, and we only want $300,000.

Notably, he mentioned very little about the game itself. $300,000 is a tiny amount in AAA game development (the downloadable games had been working with a budget of $2 million each), but public interest was such that Schafer's project blasted past its modest goal, securing $400,000 in the first nine hours alone. By the time payments had closed a month later, the game had raised nearly $3.5 million from 87,000 backers.

This is still not a huge amount in terms of game development, but it signalled to many other developers that Kickstarter was an alternative funding spot for their games; it completed the breakdown of the publisher-distributor system that had been the bane of developers' lives since the end of Shareware in the 1980s.

With Steam Greenlight and Kickstarter, developers can now fund a game by themselves, promoting it at the same time, and then distribute it (without the fixed cost of manufacturing stock), retaining the majority of the profits for themselves.

The ball and chain

Zombie playground

"The advent of digital publishing, Steam, the App Store, Google Play and digital downloadable content everywhere is eroding the near monopoly which was traditionally held by the major publishers," says Todd Tribell, co-founder of Digital Capital, a highly specialised investment firm for cutting edge technology.

"As a result of digital downloads, the risk of maintaining $10-20 million worth of inventory one might not sell is now eliminated. Combined, the elimination of the 'ball and chain' as I call them [inventory and console licenses] is, in my opinion, the game-changer here."

Since then, we've seen many indie studios redirecting their efforts towards Kickstarter and many better-known developers leaving studios to go it alone. As Tribell says, "We are in a dynamic time in this industry and the shift has already occurred - past tense. This I attribute from a practical perspective to Harrington and Newell at Valve, and to Steve Jobs, who I believe have collectively had the biggest impact on this transformation in industry politics through the advent of download technology. The reality as I see it: I am in on the ground floor of something that is a virtually brand new industry, and I truly believe that the dynamics of the old titans in the industry are going to have to dramatically change or soon they will be gone - the same I expect to see with the console and the DVD."

Famous developers like Brian Fargo of Wasteland fame, Tim Cain of Fallout (who left his publisher-driven MMO Wildstar) and Chris Avellone of Planescape: Torment have all moved their projects to Kickstarter.

"Look at now versus three years ago," says Fargo. "How many independent studios are carving out businesses for themselves? And we all have different niches. One guy might do a fly-fishing game, or a train simulator. He's got his audience and he sells to them and he's got a great business for himself. We're already seeing a lot of really talented people leaving the publishers to do what we're doing."

Obsidian's Project Eternity hit nearly $4,000,000, again with little initial detail. Fargo's Wasteland 2 hit nearly $3,000,000. Planetary Annihilation (a modern day Total Annihilation) reached $2,300,000. Shadowrun, an old RPG series, got $1,900,000 for a 2D RPG for tablets and PC. Homestuck Adventure, an adventure game based on a popular webcomic, got $2,400,000. A new Broken Sword adventure game got funded ($700,000), despite the last iterations being disappointing. Carmageddon, a long-dead and much-beloved destruction derby game, got $625,000. Neal Stephenson, author of Cryptonomicon and The Baroque Cycle, got $500,000 to make a motion-controlled sword game. And so on.

Notably, either from the start, or in 'stretch goals' - when developers say what they'll do with all their extra cash - many of these developers have pledged to support Linux and Mac games. Given that many of them are developing in the Unity engine, they're aware that, at low cost, they can make ports to other hardware platforms relatively easily.

By making the developers realise that an unserved audience is there, desperate for games, Kickstarter is changing development. For developers, it also means that they can talk to their community about the game; for many, no part of the publishing or marketing model was working.

Tim Cain, now at Obsidian, says: "With Kickstarter, we are free to talk about the game during all the stages of its development. We have a better idea of what features are important, and the fans can follow the game's development and be more involved with it."

Kick in the teeth

Sword of Fargol

There have been high profile failures though. Wizardry lead designer Brenda Brathwaite and Doom creator Tom Hall pulled their Kickstarter for an 'old school RPG' because they felt that fans were funding it without actually knowing what it was.

It's noticeable how many games projects have focused on nostalgia rather than innovation. All the largest and most successful projects have been adventure games and RPGs - genres that have been stagnant for a long time. Worse, Haunts, a small horror game, received $28,000 from Kickstarter, but the developer had to put the project on hold indefinitely, as it had run out of money and programmers.

Given that most punters go for the cheapest option that will give them a copy of the game, the 12,000 people who funded Haunts may feel aggrieved. They thought they were pre-ordering a game, but if it shuts down then they've lost their money.

And not all Kickstarters get funded. If you're a small indie with no big names, you have to aim much lower in your goals - and be prepared to do so. Dinofarm Games' Keith Burgun has talked about the failure of the Kickstarter for his tactical dungeon-crawler Auro, emphasising the need for good communications.

Successful pitches on Kickstarter are supported by a reasonable video, regular blog updates, sensible goals and attractive payment tiers. Burgun recommends playing it straight and waiting until you've got something to show. And if you don't get the cash, don't be discouraged; work out why not and try again.

Philippe Chetrit, CEO of event crowdfunding platform Tixelated, agrees. The key to a successful campaign is a clear and precise return on a contribution, he says. "We've seen countless campaigns fail on our platform due to people's faith in a good idea."

Carlos Solorio of clothing Kickstarter Arden Reed says competition is increasing, and that "Campaigns are getting more sophisticated. Now companies going into a KS campaign are usually advised by several mentors and consultants - not to mention the professional videographers/screenwriters that have emerged from this industry."

Publishers are learning too. They won't become extinct, but they will have to change. "It's pretty scary when you're a publisher and you have to fund games because that's what you need to go ship," says Obsidian's Feargus Urquhart. "But now maybe some titles can come to you secondarily, or for distribution, or something like that where you don't have to worry about a cash outlay so much. For the $20-40 million multi-SKU console game, that's not the Kickstarter world. But for titles cheaper than that, he says: "we're getting the opportunity to go build a brand, and it's a brand that we own. And that's what changes the power a little bit."

The new wave

One interesting new platform is Gambitious, which offers the crowd equity in the project (so if the game makes a profit, the funder gets some money back) and acts like a publisher. "It's crowdfunding 2.0 - newwave publishing," explains one of the sitefs founders, Andy Payne OBE. "It's not just raising lots of money, it's making sure the project goes somewhere. We're going to have a board of experts to help developers get their pitch right, make money out of it and act as guarantors."

"Games are getting more expensive to make. When I started, apps were £50,000. Now it's £250,000. It will be up to millions on pocket computers in a couple of years. I think we'll see hybrid models - a bit of crowdsourcing to prove a concept is popular, then equity, then bigger equity coming in to take bigger slices. A hierarchical wisdom of crowds model."

It's likely that Kickstarter will adopt elements of this, especially now that the JOBS (Jumpstart Our Business Startups) Act has passed in the US - something designed to reduce regulation on crowdfunding.

As Money Crasher's Andrew Schrage told us, analysts predict the JOBS act will help the industry grow to $500bn in 2013. But growth in new industries tends to mean consolidation - or venture capitalists buying everything out.

Payne predicts Kickstarter will be bought soon. "They're the Facebook and Twitter of crowdfunding. They have a fantastic vertically sliced community, and make lots of money from their transaction model. They will probably sell themselves to a financial institution - banking or venture capitalism."

For the future, Solorio feels the platform is "crossing the chasm" to mainstream crowdfunding. "I think you're going to start seeing entire industries shift to this funding platform. Especially those that were constrained by outsized capital needs."

Of course, with the Western economies still in the doldrums all capital is constrained, so perhaps every company will shift to Kickstarter. Perhaps the crowds aren't so mad after all.

In Depth: The cutting-edge kit we'll be buying in 2013
Jan 1st 2013, 11:00

In Depth: The cutting-edge kit we'll be buying in 2013

Happy New Year! Though 2012 is likely to be remembered as the tipping point for tablets in the UK (we even know of a six-year old with one), it's 2013 that looks set to birth big new ideas beyond the simple touchscreen.

New gaming hardware and ecosystems are expected from both Sony and Microsoft that will likely be designed to last into the 2020s, while Google's Project Glass will give a new definition to mobile web browsing. Apple, Samsung, Amazon and the rest will continue blurring the distinction between smartphone, tablet and ebook readers, while 'camera 2.0' developments will reach proper photography.

Let's get that rumour mill in overdrive …

Tablets & smartphones

If 2012 was the year that Apple's iPad finally got some meaningful competition – and from all corners – 2013 will see the market splinter further. Microsoft's just-released Surface will attract attention in the first few months, but it's PC and Ultrabook sellers that have most to lose from its rise.

That's not to say that the 10-inch tablet sector – which will receive a lighter, thinner iPad 5 along with refreshed versions of Samsung's Tab 2 10.1 and Note 10.1 – will carry on as it is. Already chipped away at by seven-inch tablets like the Google Nexus 7, Kindle Fire HD and iPad mini (expect a Retina version of the latter in Summer), tablets will shrink further as we see the rise of 'phablets'.

Hybrid five-inch+ devices already exist, but second-gen versions including the Samsung Galaxy S4, a new HTC One X+ and LG Optimus 4X HD are likely to boast not only bigger screens, but 1080p detail, too, while rumours about Samsung's bendable phones just won't go away. Nor will the rumoured Sony Yuga C6603, a five-inch Android device with 12-megapixel camera that could challenge the current king of the phablets, Samsung's Galaxy Note 2.

There'll be an iPhone 5S, of course, but whether it will continue its trajectory and size-up slightly is anyone's guess. More likely it will catch-up with the others by adding a better camera and support for NFC, something that could help start a contactless payment revolution across the UK.

Hardware aside, expect tweaks to tablet and smartphone operating systems in 2013 that build on Samsung's S Voice and Smart Stay tech to enable all kinds of gesture-based functionality that lessen the importance of touchscreens.

YouTube :

Augmented Reality

Get ready for layers; Google's X Labs will issue the first fruits of its Project Glass research and make browsing the web literally as easy as walking down the street.

The logical solution to the current problem in our cities of dawdling smartphone addicts unable to walk in a straight line, these specs will play video in one eye while overlaying maps, web pages and local information while also enabling instant email, texts or voice calls.

"Project Glass is a wearable solution that uses pieces of smart glass with a heads-up display (HUD) to seamlessly blend the virtual world of smartphones and computers with the real world of people and places," says Kevin Curran, senior member of the IEEE and head of the School of Computing and Intelligence Systems at the University of Ulster.

"Google Glasses leverages communication technology like social networking, calling and texting, and it interacts in real-time with people, places and things. When it all comes together, Project Glass creates a type of meta-reality, or smart reality."

In the wake of interest in Google's goggles, it's possible that we'll see revamped versions of headwear gadgetry like Sony's HMZ-T1 Personal 3D Viewer and Epson's Moverio BT-100.

Google Glass


2012 has seen rudimentary gaming on smartphones and tablets bite into the territory of games consoles, and cable companies could bring cloud gaming in 2013. Sony and Microsoft need to act. While Sony's 4k-capable PlayStation 4 is unlikely to make it before 2014, the next Xbox 720 surely will. Due in Summer, we're expecting tablet-style touchscreen controllers and a built-in Blu-ray drive, while a souped-up Kinect could increase the scope of gesture controls and possibly introduce some kind of projection tech to expand the realm of games beyond the TV. Either way, both the PS4 and Xbox 720 will continue the trend to cloud-based gaming.


Camera 2.0

This will be a big year for cameras, with the D-SLR set for an overhaul in 2013. The past 12 months have witnessed the first 'smart' Android-based compact cameras, such as the Samsung Galaxy Camera and Nikon Coolpix S800c, but as the optics in smartphones advance beyond 14-megapixels in 2013, it's the semi-pro market that will get connected. Expect the next D-SLR cameras to have WiFi, touchscreens, automatic cloud-powered photo backup, voice control and in-camera editing. Camera 2.0 is a computer – and it will probably deal in 4k resolution video and 3D, too.



TV is set to reach new heights in 2013 – literally. The average screen size has been creeping up for years, but advances in slimness mean that a 46-inch LED TV is now the same size as a 42-inch version from two years ago.

While the bigger sizes will dominate, developments in glass-cutting will see new screen sizes become common, such as 35-inch and 39-inch, while many bargain-priced 60-inch and 65-inch TVs will become affordable. Sharp is putting its eggs in this basket; the Japanese brand will make an attempt to become a big name in TV by selling relatively affordable, standard-spec giant-sized TVs.

What certainly won't be affordable to the majority will be 2013's biggest TV technological advance – the 4k or Ultra HD screen. Equipped with resolutions of 3840x2160 pixels (four times that of Full HD), on sale this month are two 84-inch examples, the LG 84LM960V (£22,500) and Sony KD-84X9005. Sharp will sell its slightly more sensibly-sized Ultra HD LC-60HQ10 dubbed 'ICC Purios' from February, with Ultra HD tellies to follow from Samsung (in January), Panasonic and Toshiba, too.

If prices for the first Ultra TVs are expected to be insane, the same goes for a TV using an 'organic' LED panel. These OLED TVs – due in the first half of 2013 (over a year 'late') as the 55-inch Samsung 55ES9500 and LG 55EM960V – will cost around £9,000. They've graced trade fairs for over a year, but OLED's blur-free, life-like picture could be one to watch. Lastly in TV, the goggle-free 3DTV will get a step closer in 2013, with many brands prepping a more watchable version of the Toshiba 55ZL2, though by next Christmas we'll have seen more convincing prototypes, at best.

After offering remote recording at best, smartphone and tablet apps that put 'TV anywhere' have arrived in 2012, but 2013 should see both Virgin and Sky place the final piece in the jigsaw by issuing apps for TiVo and Sky+HD (Sky Go) that let users stream all live channels and previously made recordings to tablets and smartphones.

Expect something from Apple in 2013 for the living room, too. Despite the rumours a so-called Apple iTV HDTV looks unlikely, but how about a new version of Apple TV with PVR-style recording, Siri and FaceTime?


Two new BlackBerry 10 smartphones approved by FCC
Dec 31st 2012, 20:30

Two new BlackBerry 10 smartphones approved by FCC

Research in Motion won't be launching BlackBerry 10 until Jan. 30, but that hasn't stopped leaks and the Federal Communications Commission from spoiling some of the surprise.

On Sunday, new photos of the BlackBerry 10 N-Series phone were leaked, showcasing a Bold-looking QWERTY infused device.

Just before Christmas, images of the rumored BlackBerry Z10 touchscreen phone appeared online, revealing a possible direction shift in RIM's naming policies.

Following those leaks, the FCC filings for two other unnamed BB10 phones were released, possibly bringing the total of RIM devices launching at the end of January to four.

Slim pickens

It shouldn't come as much of a surprise that FCC filings for RIM's new phones would be posted ahead of BB10's launch.

What is a bit surprising though is the stark lack of details provided by the FCC paperwork, which lack any real excitement in the specs or model name departments.

The one shining light amidst the bleak technical and legal jargon was news that one of the BB10 phones (RFF91LW) would be compatible with AT&T's LTE and GSM networks.

There's a chance the RFF91LW might be the BlackBerry Z10, based on the limited and censored images provided, but without RIM's official announcement, there's little concrete evidence this is the case.

Unfortunately, the details on the RFH121LW are even more sparse, and seemingly only serve to prove RIM is actually getting closer to launching multiple BlackBerry 10 devices.

TechRadar will be on hand at the BlackBerry 10 launch event to get the answers to these and the dozens of other questions that have arisen ahead of the official reveal.

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