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What was an indication of the time period of the standards? | In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), whi... | After World War II these records were retroactively known as 78s | advqa_10900 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What made a 78 spin in 1925? | In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), whi... | electrically powered synchronous turntable motor | advqa_10901 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What caused the revolutions? | In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), whi... | motor | advqa_10902 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What gear ratio would be used in parts of the world using 60 Hz? | In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), whi... | 46:1 gear ratio | advqa_10903 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
How did the playing system operate? | In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), whi... | electrically | advqa_10904 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What does HZ measure? | In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), whi... | light | advqa_10905 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
How many lines would you need to "stand still" if you were using an rpm of 78.26 | In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), whi... | 92 lines | advqa_10906 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
The initial standard was determined in a time before what? | In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), whi... | World War II | advqa_10907 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
How were the rpms originally determined? | In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), whi... | the electrically powered synchronous turntable motor | advqa_10908 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What is being classified? | In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), whi... | records | advqa_10909 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What effect is displayed on a disc with 77 lines, spinning at 77.92 rpm, when exposed to 50 Hz light? | In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), whi... | would "stand still" | advqa_10910 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
How do we make the groove on the record smaller? | Due to recording mastering and manufacturing limitations, both high and low frequencies were removed from the first recorded signals by various formulae. With low frequencies, the stylus must swing a long way from side to side, requiring the groove to be wide, taking up more space and limiting the playing time of the r... | the amplitude of low frequencies is reduced | advqa_10911 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What happens when the groove of the record is wider? | Due to recording mastering and manufacturing limitations, both high and low frequencies were removed from the first recorded signals by various formulae. With low frequencies, the stylus must swing a long way from side to side, requiring the groove to be wide, taking up more space and limiting the playing time of the r... | At high frequencies, hiss, pops, and ticks are significant | advqa_10912 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What effect does boosting bass and cutting treble have on the original signal? | Due to recording mastering and manufacturing limitations, both high and low frequencies were removed from the first recorded signals by various formulae. With low frequencies, the stylus must swing a long way from side to side, requiring the groove to be wide, taking up more space and limiting the playing time of the r... | restore the tonal balance | advqa_10913 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
How can we fit more music onto a record? | Due to recording mastering and manufacturing limitations, both high and low frequencies were removed from the first recorded signals by various formulae. With low frequencies, the stylus must swing a long way from side to side, requiring the groove to be wide, taking up more space and limiting the playing time of the r... | reduces the high frequency noise | advqa_10914 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
Unwanted sounds that are unpleasant, loud, or interfere with desired sounds are generally called? | Due to recording mastering and manufacturing limitations, both high and low frequencies were removed from the first recorded signals by various formulae. With low frequencies, the stylus must swing a long way from side to side, requiring the groove to be wide, taking up more space and limiting the playing time of the r... | noise | advqa_10915 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
Lowest pitch instruments such as guitars are given the designation...? | Due to recording mastering and manufacturing limitations, both high and low frequencies were removed from the first recorded signals by various formulae. With low frequencies, the stylus must swing a long way from side to side, requiring the groove to be wide, taking up more space and limiting the playing time of the r... | bass | advqa_10916 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What is amplified by playback equipment? | Due to recording mastering and manufacturing limitations, both high and low frequencies were removed from the first recorded signals by various formulae. With low frequencies, the stylus must swing a long way from side to side, requiring the groove to be wide, taking up more space and limiting the playing time of the r... | bass | advqa_10917 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What is reduced by playback equipment? | Due to recording mastering and manufacturing limitations, both high and low frequencies were removed from the first recorded signals by various formulae. With low frequencies, the stylus must swing a long way from side to side, requiring the groove to be wide, taking up more space and limiting the playing time of the r... | treble | advqa_10918 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What needs a wider gap? | Due to recording mastering and manufacturing limitations, both high and low frequencies were removed from the first recorded signals by various formulae. With low frequencies, the stylus must swing a long way from side to side, requiring the groove to be wide, taking up more space and limiting the playing time of the r... | low frequencies | advqa_10919 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What are two issues with a wide groove? | Due to recording mastering and manufacturing limitations, both high and low frequencies were removed from the first recorded signals by various formulae. With low frequencies, the stylus must swing a long way from side to side, requiring the groove to be wide, taking up more space and limiting the playing time of the r... | taking up more space and limiting the playing time of the record | advqa_10920 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
An adjective that refers to threefold is? | Due to recording mastering and manufacturing limitations, both high and low frequencies were removed from the first recorded signals by various formulae. With low frequencies, the stylus must swing a long way from side to side, requiring the groove to be wide, taking up more space and limiting the playing time of the r... | treble | advqa_10921 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
How can you keep sounds like pops from happening on your record? | Due to recording mastering and manufacturing limitations, both high and low frequencies were removed from the first recorded signals by various formulae. With low frequencies, the stylus must swing a long way from side to side, requiring the groove to be wide, taking up more space and limiting the playing time of the r... | using equalization to an agreed standard | advqa_10922 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
A depression in an object that is also usually long is called a? | Due to recording mastering and manufacturing limitations, both high and low frequencies were removed from the first recorded signals by various formulae. With low frequencies, the stylus must swing a long way from side to side, requiring the groove to be wide, taking up more space and limiting the playing time of the r... | groove | advqa_10923 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What causes the most sound quality problems? | Due to recording mastering and manufacturing limitations, both high and low frequencies were removed from the first recorded signals by various formulae. With low frequencies, the stylus must swing a long way from side to side, requiring the groove to be wide, taking up more space and limiting the playing time of the r... | high frequencies | advqa_10924 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
Some smartphones may include a tool to allow fine touch on its screen called a? | Due to recording mastering and manufacturing limitations, both high and low frequencies were removed from the first recorded signals by various formulae. With low frequencies, the stylus must swing a long way from side to side, requiring the groove to be wide, taking up more space and limiting the playing time of the r... | stylus | advqa_10925 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What happened to 16 2/3 after their failure in Chrysler cars? | Some recordings, such as books for the blind, were pressed at 16 2⁄3 rpm. Prestige Records released jazz records in this format in the late 1950s; for example, two of their Miles Davis albums were paired together in this format. Peter Goldmark, the man who developed the 33 1⁄3 rpm record, developed the Highway Hi-Fi 16... | used for narrated publications for the blind and visually impaired | advqa_10926 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What rpm was more common than 16 2/3? | Some recordings, such as books for the blind, were pressed at 16 2⁄3 rpm. Prestige Records released jazz records in this format in the late 1950s; for example, two of their Miles Davis albums were paired together in this format. Peter Goldmark, the man who developed the 33 1⁄3 rpm record, developed the Highway Hi-Fi 16... | 33 1⁄3 rpm record | advqa_10927 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
How did a record company promote the 16 2/3 rpm records? | Some recordings, such as books for the blind, were pressed at 16 2⁄3 rpm. Prestige Records released jazz records in this format in the late 1950s; for example, two of their Miles Davis albums were paired together in this format. Peter Goldmark, the man who developed the 33 1⁄3 rpm record, developed the Highway Hi-Fi 16... | two of their Miles Davis albums were paired together in this format | advqa_10928 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What happened to 16 2/3 rpm speed at last? | Some recordings, such as books for the blind, were pressed at 16 2⁄3 rpm. Prestige Records released jazz records in this format in the late 1950s; for example, two of their Miles Davis albums were paired together in this format. Peter Goldmark, the man who developed the 33 1⁄3 rpm record, developed the Highway Hi-Fi 16... | never widely commercially available | advqa_10929 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What record was produced in 16 2/3 rpm? | Some recordings, such as books for the blind, were pressed at 16 2⁄3 rpm. Prestige Records released jazz records in this format in the late 1950s; for example, two of their Miles Davis albums were paired together in this format. Peter Goldmark, the man who developed the 33 1⁄3 rpm record, developed the Highway Hi-Fi 16... | Miles Davis albums | advqa_10930 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What type of jazz records were released? | Some recordings, such as books for the blind, were pressed at 16 2⁄3 rpm. Prestige Records released jazz records in this format in the late 1950s; for example, two of their Miles Davis albums were paired together in this format. Peter Goldmark, the man who developed the 33 1⁄3 rpm record, developed the Highway Hi-Fi 16... | Miles Davis albums | advqa_10931 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
How were the jazz records from Prestige Records made? | Some recordings, such as books for the blind, were pressed at 16 2⁄3 rpm. Prestige Records released jazz records in this format in the late 1950s; for example, two of their Miles Davis albums were paired together in this format. Peter Goldmark, the man who developed the 33 1⁄3 rpm record, developed the Highway Hi-Fi 16... | pressed at 16 2⁄3 rpm | advqa_10932 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
Which weakness did the 16 2/3 rpm record focus on? | Some recordings, such as books for the blind, were pressed at 16 2⁄3 rpm. Prestige Records released jazz records in this format in the late 1950s; for example, two of their Miles Davis albums were paired together in this format. Peter Goldmark, the man who developed the 33 1⁄3 rpm record, developed the Highway Hi-Fi 16... | blind and visually impaired | advqa_10933 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
Before the 1960s, what was released on 16 2/3 rpm besides jazz records? | Some recordings, such as books for the blind, were pressed at 16 2⁄3 rpm. Prestige Records released jazz records in this format in the late 1950s; for example, two of their Miles Davis albums were paired together in this format. Peter Goldmark, the man who developed the 33 1⁄3 rpm record, developed the Highway Hi-Fi 16... | books for the blind | advqa_10934 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What was the first product developed by Peter Goldmark? | Some recordings, such as books for the blind, were pressed at 16 2⁄3 rpm. Prestige Records released jazz records in this format in the late 1950s; for example, two of their Miles Davis albums were paired together in this format. Peter Goldmark, the man who developed the 33 1⁄3 rpm record, developed the Highway Hi-Fi 16... | 33 1⁄3 rpm record | advqa_10935 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What kind of weakness was aimed at by the pressed format? | Some recordings, such as books for the blind, were pressed at 16 2⁄3 rpm. Prestige Records released jazz records in this format in the late 1950s; for example, two of their Miles Davis albums were paired together in this format. Peter Goldmark, the man who developed the 33 1⁄3 rpm record, developed the Highway Hi-Fi 16... | blind | advqa_10936 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
Why were the 16 2/3 eventually only used for books for the blind? | Some recordings, such as books for the blind, were pressed at 16 2⁄3 rpm. Prestige Records released jazz records in this format in the late 1950s; for example, two of their Miles Davis albums were paired together in this format. Peter Goldmark, the man who developed the 33 1⁄3 rpm record, developed the Highway Hi-Fi 16... | poor performance of the system and weak implementation by Chrysler and Columbia | advqa_10937 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What album has sold the most vinyl in one week? | In 2014 artist Jack White sold 40,000 copies of his second solo release, Lazaretto, on vinyl. The sales of the record beat the largest sales in one week on vinyl since 1991. The sales record was previously held by Pearl Jam's, Vitalogy, which sold 34,000 copies in one week in 1994. In 2014, the sale of vinyl records wa... | Lazaretto | advqa_10938 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What type of music medium is enjoying a boost? | In 2014 artist Jack White sold 40,000 copies of his second solo release, Lazaretto, on vinyl. The sales of the record beat the largest sales in one week on vinyl since 1991. The sales record was previously held by Pearl Jam's, Vitalogy, which sold 34,000 copies in one week in 1994. In 2014, the sale of vinyl records wa... | vinyl | advqa_10939 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What are digital tracks? | In 2014 artist Jack White sold 40,000 copies of his second solo release, Lazaretto, on vinyl. The sales of the record beat the largest sales in one week on vinyl since 1991. The sales record was previously held by Pearl Jam's, Vitalogy, which sold 34,000 copies in one week in 1994. In 2014, the sale of vinyl records wa... | mediums | advqa_10940 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What are digital albums? | In 2014 artist Jack White sold 40,000 copies of his second solo release, Lazaretto, on vinyl. The sales of the record beat the largest sales in one week on vinyl since 1991. The sales record was previously held by Pearl Jam's, Vitalogy, which sold 34,000 copies in one week in 1994. In 2014, the sale of vinyl records wa... | mediums | advqa_10941 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What is Lazaretto? | In 2014 artist Jack White sold 40,000 copies of his second solo release, Lazaretto, on vinyl. The sales of the record beat the largest sales in one week on vinyl since 1991. The sales record was previously held by Pearl Jam's, Vitalogy, which sold 34,000 copies in one week in 1994. In 2014, the sale of vinyl records wa... | solo release | advqa_10942 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What is Vitalogy? | In 2014 artist Jack White sold 40,000 copies of his second solo release, Lazaretto, on vinyl. The sales of the record beat the largest sales in one week on vinyl since 1991. The sales record was previously held by Pearl Jam's, Vitalogy, which sold 34,000 copies in one week in 1994. In 2014, the sale of vinyl records wa... | record | advqa_10943 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
Who did Jack White work with on his album? | In 2014 artist Jack White sold 40,000 copies of his second solo release, Lazaretto, on vinyl. The sales of the record beat the largest sales in one week on vinyl since 1991. The sales record was previously held by Pearl Jam's, Vitalogy, which sold 34,000 copies in one week in 1994. In 2014, the sale of vinyl records wa... | solo | advqa_10944 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
Who broke a record for Vinyl Sales for an album in the early 90's? | In 2014 artist Jack White sold 40,000 copies of his second solo release, Lazaretto, on vinyl. The sales of the record beat the largest sales in one week on vinyl since 1991. The sales record was previously held by Pearl Jam's, Vitalogy, which sold 34,000 copies in one week in 1994. In 2014, the sale of vinyl records wa... | Pearl Jam's, Vitalogy | advqa_10945 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
How did White sell his 40000 copies of his album in 2014? | In 2014 artist Jack White sold 40,000 copies of his second solo release, Lazaretto, on vinyl. The sales of the record beat the largest sales in one week on vinyl since 1991. The sales record was previously held by Pearl Jam's, Vitalogy, which sold 34,000 copies in one week in 1994. In 2014, the sale of vinyl records wa... | on vinyl | advqa_10946 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
Who sold more than 36,000 records? | In 2014 artist Jack White sold 40,000 copies of his second solo release, Lazaretto, on vinyl. The sales of the record beat the largest sales in one week on vinyl since 1991. The sales record was previously held by Pearl Jam's, Vitalogy, which sold 34,000 copies in one week in 1994. In 2014, the sale of vinyl records wa... | Jack White | advqa_10947 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What change did Edison make to his Amberol cylinders? | In 1901, 10-inch disc records were introduced, followed in 1903 by 12-inch records. These could play for more than three and four minutes respectively, while contemporary cylinders could only play for about two minutes. In an attempt to head off the disc advantage, Edison introduced the Amberol cylinder in 1909, with a... | made of celluloid, a plastic, which was far less fragile | advqa_10948 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
10-inch disc records and 12-inch records were where physical sound storage media, also called? | In 1901, 10-inch disc records were introduced, followed in 1903 by 12-inch records. These could play for more than three and four minutes respectively, while contemporary cylinders could only play for about two minutes. In an attempt to head off the disc advantage, Edison introduced the Amberol cylinder in 1909, with a... | Analog disc records | advqa_10949 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What occurred in the 9th year of the 20th century? | In 1901, 10-inch disc records were introduced, followed in 1903 by 12-inch records. These could play for more than three and four minutes respectively, while contemporary cylinders could only play for about two minutes. In an attempt to head off the disc advantage, Edison introduced the Amberol cylinder in 1909, with a... | advantage, Edison introduced the Amberol cylinder | advqa_10950 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What occurred in the 19th year of the 20th century? | In 1901, 10-inch disc records were introduced, followed in 1903 by 12-inch records. These could play for more than three and four minutes respectively, while contemporary cylinders could only play for about two minutes. In an attempt to head off the disc advantage, Edison introduced the Amberol cylinder in 1909, with a... | the basic patents for the manufacture of lateral-cut disc records had expired, opening the field for countless companies to produce them | advqa_10951 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What term is used to refer to the side part of something, or a position farther from the median plane? | In 1901, 10-inch disc records were introduced, followed in 1903 by 12-inch records. These could play for more than three and four minutes respectively, while contemporary cylinders could only play for about two minutes. In an attempt to head off the disc advantage, Edison introduced the Amberol cylinder in 1909, with a... | lateral | advqa_10952 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What took the place of disc records? | In 1901, 10-inch disc records were introduced, followed in 1903 by 12-inch records. These could play for more than three and four minutes respectively, while contemporary cylinders could only play for about two minutes. In an attempt to head off the disc advantage, Edison introduced the Amberol cylinder in 1909, with a... | digital compact disc | advqa_10953 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
How long could Thomas Edison's late cylinders play in order to compete with disc records? | In 1901, 10-inch disc records were introduced, followed in 1903 by 12-inch records. These could play for more than three and four minutes respectively, while contemporary cylinders could only play for about two minutes. In an attempt to head off the disc advantage, Edison introduced the Amberol cylinder in 1909, with a... | 4½ minutes | advqa_10954 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What caused Edison's Amberol cylinder to fail? | In 1901, 10-inch disc records were introduced, followed in 1903 by 12-inch records. These could play for more than three and four minutes respectively, while contemporary cylinders could only play for about two minutes. In an attempt to head off the disc advantage, Edison introduced the Amberol cylinder in 1909, with a... | disc records | advqa_10955 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What occured in the 1st year of the 20th century? | In 1901, 10-inch disc records were introduced, followed in 1903 by 12-inch records. These could play for more than three and four minutes respectively, while contemporary cylinders could only play for about two minutes. In an attempt to head off the disc advantage, Edison introduced the Amberol cylinder in 1909, with a... | 10-inch disc records were introduced | advqa_10956 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
When did the CDs take over? | In 1901, 10-inch disc records were introduced, followed in 1903 by 12-inch records. These could play for more than three and four minutes respectively, while contemporary cylinders could only play for about two minutes. In an attempt to head off the disc advantage, Edison introduced the Amberol cylinder in 1909, with a... | late 1980s | advqa_10957 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
10 inch disc records, unlike cylinders of contemporary use could play for how long? | In 1901, 10-inch disc records were introduced, followed in 1903 by 12-inch records. These could play for more than three and four minutes respectively, while contemporary cylinders could only play for about two minutes. In an attempt to head off the disc advantage, Edison introduced the Amberol cylinder in 1909, with a... | three and four minutes | advqa_10958 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
Parkesine and Xylonite are the first examples of what kind of compounds? | In 1901, 10-inch disc records were introduced, followed in 1903 by 12-inch records. These could play for more than three and four minutes respectively, while contemporary cylinders could only play for about two minutes. In an attempt to head off the disc advantage, Edison introduced the Amberol cylinder in 1909, with a... | celluloid | advqa_10959 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What issues did delicate sounds have due to the recording of horn diaphragm and cutting mechanism? | Delicate sounds and fine overtones were mostly lost, because it took a lot of sound energy to vibrate the recording horn diaphragm and cutting mechanism. There were acoustic limitations due to mechanical resonances in both the recording and playback system. Some pictures of acoustic recording sessions show horns wrappe... | were mostly lost | advqa_10960 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What type of document had captured the disdain for the horn sounds? | Delicate sounds and fine overtones were mostly lost, because it took a lot of sound energy to vibrate the recording horn diaphragm and cutting mechanism. There were acoustic limitations due to mechanical resonances in both the recording and playback system. Some pictures of acoustic recording sessions show horns wrappe... | pictures | advqa_10961 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What sort of tools have acoustic muscians tried, attempting to to fix the issue of resonances? | Delicate sounds and fine overtones were mostly lost, because it took a lot of sound energy to vibrate the recording horn diaphragm and cutting mechanism. There were acoustic limitations due to mechanical resonances in both the recording and playback system. Some pictures of acoustic recording sessions show horns wrappe... | electrically on modern equipment | advqa_10962 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
what common product was utilized to mute resonances? | Delicate sounds and fine overtones were mostly lost, because it took a lot of sound energy to vibrate the recording horn diaphragm and cutting mechanism. There were acoustic limitations due to mechanical resonances in both the recording and playback system. Some pictures of acoustic recording sessions show horns wrappe... | tape | advqa_10963 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What issue led to the horns getting wraped with tape? | Delicate sounds and fine overtones were mostly lost, because it took a lot of sound energy to vibrate the recording horn diaphragm and cutting mechanism. There were acoustic limitations due to mechanical resonances in both the recording and playback system. Some pictures of acoustic recording sessions show horns wrappe... | mechanical resonances | advqa_10964 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
how could an acoustic recording be utilized on modern equipment? | Delicate sounds and fine overtones were mostly lost, because it took a lot of sound energy to vibrate the recording horn diaphragm and cutting mechanism. There were acoustic limitations due to mechanical resonances in both the recording and playback system. Some pictures of acoustic recording sessions show horns wrappe... | electrically | advqa_10965 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What was the irony of the resonance issue, as mentioned in the excerpt? | Delicate sounds and fine overtones were mostly lost, because it took a lot of sound energy to vibrate the recording horn diaphragm and cutting mechanism. There were acoustic limitations due to mechanical resonances in both the recording and playback system. Some pictures of acoustic recording sessions show horns wrappe... | Toward the end of the acoustic era, there were many fine examples of recordings made with horns | advqa_10966 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What was the difficulty with delicate sounds and fine overtones? | Delicate sounds and fine overtones were mostly lost, because it took a lot of sound energy to vibrate the recording horn diaphragm and cutting mechanism. There were acoustic limitations due to mechanical resonances in both the recording and playback system. Some pictures of acoustic recording sessions show horns wrappe... | it took a lot of sound energy to vibrate the recording horn diaphragm and cutting mechanism | advqa_10967 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
Besides the playback system how were acoustic limitations negatively affected? | Delicate sounds and fine overtones were mostly lost, because it took a lot of sound energy to vibrate the recording horn diaphragm and cutting mechanism. There were acoustic limitations due to mechanical resonances in both the recording and playback system. Some pictures of acoustic recording sessions show horns wrappe... | recording | advqa_10968 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What issues did the horns have due to mechanical resonances? | Delicate sounds and fine overtones were mostly lost, because it took a lot of sound energy to vibrate the recording horn diaphragm and cutting mechanism. There were acoustic limitations due to mechanical resonances in both the recording and playback system. Some pictures of acoustic recording sessions show horns wrappe... | Delicate sounds and fine overtones were mostly lost | advqa_10969 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What is the result of storing a record correctly? | Vinyl records can be warped by heat, improper storage, exposure to sunlight, or manufacturing defects such as excessively tight plastic shrinkwrap on the album cover. A small degree of warp was common, and allowing for it was part of the art of turntable and tonearm design. "wow" (once-per-revolution pitch variation) c... | reduce ingress of dust onto the record surface | advqa_10970 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What is the result of storing a record properly? | Vinyl records can be warped by heat, improper storage, exposure to sunlight, or manufacturing defects such as excessively tight plastic shrinkwrap on the album cover. A small degree of warp was common, and allowing for it was part of the art of turntable and tonearm design. "wow" (once-per-revolution pitch variation) c... | reduce ingress of dust onto the record surface | advqa_10971 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What is the result of properly storing a record? | Vinyl records can be warped by heat, improper storage, exposure to sunlight, or manufacturing defects such as excessively tight plastic shrinkwrap on the album cover. A small degree of warp was common, and allowing for it was part of the art of turntable and tonearm design. "wow" (once-per-revolution pitch variation) c... | reduce ingress of dust onto the record surface | advqa_10972 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
How were warped records purposely used in music? | Vinyl records can be warped by heat, improper storage, exposure to sunlight, or manufacturing defects such as excessively tight plastic shrinkwrap on the album cover. A small degree of warp was common, and allowing for it was part of the art of turntable and tonearm design. "wow" (once-per-revolution pitch variation) c... | turntable and tonearm design | advqa_10973 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
How was it viewed? | Vinyl records can be warped by heat, improper storage, exposure to sunlight, or manufacturing defects such as excessively tight plastic shrinkwrap on the album cover. A small degree of warp was common, and allowing for it was part of the art of turntable and tonearm design. "wow" (once-per-revolution pitch variation) c... | it was part of the art of turntable and tonearm design | advqa_10974 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
How are LP's protected | Vinyl records can be warped by heat, improper storage, exposure to sunlight, or manufacturing defects such as excessively tight plastic shrinkwrap on the album cover. A small degree of warp was common, and allowing for it was part of the art of turntable and tonearm design. "wow" (once-per-revolution pitch variation) c... | placed within the outer cardboard cover so that the opening was entirely within the outer cover | advqa_10975 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What sound can result from warped records? | Vinyl records can be warped by heat, improper storage, exposure to sunlight, or manufacturing defects such as excessively tight plastic shrinkwrap on the album cover. A small degree of warp was common, and allowing for it was part of the art of turntable and tonearm design. "wow" (once-per-revolution pitch variation) c... | wow" (once-per-revolution pitch variation) | advqa_10976 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What was the result of correctly sheathing a record? | Vinyl records can be warped by heat, improper storage, exposure to sunlight, or manufacturing defects such as excessively tight plastic shrinkwrap on the album cover. A small degree of warp was common, and allowing for it was part of the art of turntable and tonearm design. "wow" (once-per-revolution pitch variation) c... | reduce ingress of dust onto the record surface | advqa_10977 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What can happen from the maker of the record? | Vinyl records can be warped by heat, improper storage, exposure to sunlight, or manufacturing defects such as excessively tight plastic shrinkwrap on the album cover. A small degree of warp was common, and allowing for it was part of the art of turntable and tonearm design. "wow" (once-per-revolution pitch variation) c... | defects such as excessively tight plastic shrinkwrap on the album cover | advqa_10978 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What shouldn't be much of a worry? | Vinyl records can be warped by heat, improper storage, exposure to sunlight, or manufacturing defects such as excessively tight plastic shrinkwrap on the album cover. A small degree of warp was common, and allowing for it was part of the art of turntable and tonearm design. "wow" (once-per-revolution pitch variation) c... | A small degree of warp | advqa_10979 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
How does the warp occur? | Vinyl records can be warped by heat, improper storage, exposure to sunlight, or manufacturing defects such as excessively tight plastic shrinkwrap on the album cover. A small degree of warp was common, and allowing for it was part of the art of turntable and tonearm design. "wow" (once-per-revolution pitch variation) c... | "wow" (once-per-revolution pitch variation) could result from warp, or from a spindle hole that was not precisely centered | advqa_10980 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What is the result of sheathing a record correctly? | Vinyl records can be warped by heat, improper storage, exposure to sunlight, or manufacturing defects such as excessively tight plastic shrinkwrap on the album cover. A small degree of warp was common, and allowing for it was part of the art of turntable and tonearm design. "wow" (once-per-revolution pitch variation) c... | reduce ingress of dust onto the record surface | advqa_10981 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
How does the variation occur? | Vinyl records can be warped by heat, improper storage, exposure to sunlight, or manufacturing defects such as excessively tight plastic shrinkwrap on the album cover. A small degree of warp was common, and allowing for it was part of the art of turntable and tonearm design. "wow" (once-per-revolution pitch variation) c... | result from warp, or from a spindle hole that was not precisely centered | advqa_10982 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What type of record player was more affordable? | Some of Elvis Presley's early singles on Sun Records might have sold more copies on 78 than on 45. This is because the majority of those sales in 1954–55 were to the "hillbilly" market in the South and Southwestern United States, where replacing the family 78 rpm player with a new 45 rpm player was a luxury few could a... | 78 rpm player | advqa_10983 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
Why were 78s more popular than 45s in 1954-55? | Some of Elvis Presley's early singles on Sun Records might have sold more copies on 78 than on 45. This is because the majority of those sales in 1954–55 were to the "hillbilly" market in the South and Southwestern United States, where replacing the family 78 rpm player with a new 45 rpm player was a luxury few could a... | replacing the family 78 rpm player with a new 45 rpm player was a luxury few could afford | advqa_10984 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
In what year did the 45 overtake the 78 in sales? | Some of Elvis Presley's early singles on Sun Records might have sold more copies on 78 than on 45. This is because the majority of those sales in 1954–55 were to the "hillbilly" market in the South and Southwestern United States, where replacing the family 78 rpm player with a new 45 rpm player was a luxury few could a... | 1957 | advqa_10985 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
When was the last 78 single released in the UK? | Some of Elvis Presley's early singles on Sun Records might have sold more copies on 78 than on 45. This is because the majority of those sales in 1954–55 were to the "hillbilly" market in the South and Southwestern United States, where replacing the family 78 rpm player with a new 45 rpm player was a luxury few could a... | 1960 | advqa_10986 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What are the media platforms the music could be found on? | Some of Elvis Presley's early singles on Sun Records might have sold more copies on 78 than on 45. This is because the majority of those sales in 1954–55 were to the "hillbilly" market in the South and Southwestern United States, where replacing the family 78 rpm player with a new 45 rpm player was a luxury few could a... | more copies on 78 than on 45 | advqa_10987 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What was the last 78 single in the US? | Some of Elvis Presley's early singles on Sun Records might have sold more copies on 78 than on 45. This is because the majority of those sales in 1954–55 were to the "hillbilly" market in the South and Southwestern United States, where replacing the family 78 rpm player with a new 45 rpm player was a luxury few could a... | I Got Stung/One Night | advqa_10988 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What version was more popular? | Some of Elvis Presley's early singles on Sun Records might have sold more copies on 78 than on 45. This is because the majority of those sales in 1954–55 were to the "hillbilly" market in the South and Southwestern United States, where replacing the family 78 rpm player with a new 45 rpm player was a luxury few could a... | 78 | advqa_10989 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What version was less expensive? | Some of Elvis Presley's early singles on Sun Records might have sold more copies on 78 than on 45. This is because the majority of those sales in 1954–55 were to the "hillbilly" market in the South and Southwestern United States, where replacing the family 78 rpm player with a new 45 rpm player was a luxury few could a... | 78 | advqa_10990 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What format was more popular with the "hillbilly" market? | Some of Elvis Presley's early singles on Sun Records might have sold more copies on 78 than on 45. This is because the majority of those sales in 1954–55 were to the "hillbilly" market in the South and Southwestern United States, where replacing the family 78 rpm player with a new 45 rpm player was a luxury few could a... | 78 | advqa_10991 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
On what type of player would Elvis' sales been more successful? | Some of Elvis Presley's early singles on Sun Records might have sold more copies on 78 than on 45. This is because the majority of those sales in 1954–55 were to the "hillbilly" market in the South and Southwestern United States, where replacing the family 78 rpm player with a new 45 rpm player was a luxury few could a... | 78 | advqa_10992 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
Was the last 78 released in the UK or the US? | Some of Elvis Presley's early singles on Sun Records might have sold more copies on 78 than on 45. This is because the majority of those sales in 1954–55 were to the "hillbilly" market in the South and Southwestern United States, where replacing the family 78 rpm player with a new 45 rpm player was a luxury few could a... | UK | advqa_10993 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
Was was a luxury in the 1950's? | Some of Elvis Presley's early singles on Sun Records might have sold more copies on 78 than on 45. This is because the majority of those sales in 1954–55 were to the "hillbilly" market in the South and Southwestern United States, where replacing the family 78 rpm player with a new 45 rpm player was a luxury few could a... | replacing the family 78 rpm player with a new 45 rpm | advqa_10994 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
How was vinyl better than shellac when it came to records? | In 1931, RCA Victor introduced their vinyl-based Victrolac compound as a material for some unusual-format and special-purpose records. By the end of the 1930s vinyl's advantages of light weight, relative unbreakability and low surface noise had made it the material of choice for prerecorded radio programming and other ... | light weight, relative unbreakability and low surface noise | advqa_10995 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What was the predecessor to vinyl in the record industry? | In 1931, RCA Victor introduced their vinyl-based Victrolac compound as a material for some unusual-format and special-purpose records. By the end of the 1930s vinyl's advantages of light weight, relative unbreakability and low surface noise had made it the material of choice for prerecorded radio programming and other ... | shellac | advqa_10996 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
Why was vinyl eventually not preferred by radio programs? | In 1931, RCA Victor introduced their vinyl-based Victrolac compound as a material for some unusual-format and special-purpose records. By the end of the 1930s vinyl's advantages of light weight, relative unbreakability and low surface noise had made it the material of choice for prerecorded radio programming and other ... | higher cost of the raw material, as well as its vulnerability to the heavy pickups and crudely mass-produced steel needles | advqa_10997 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
Why did vinyl become more popular after ww2? | In 1931, RCA Victor introduced their vinyl-based Victrolac compound as a material for some unusual-format and special-purpose records. By the end of the 1930s vinyl's advantages of light weight, relative unbreakability and low surface noise had made it the material of choice for prerecorded radio programming and other ... | new record players | advqa_10998 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
What did new records technologies in the 70's most often get used for? | In 1931, RCA Victor introduced their vinyl-based Victrolac compound as a material for some unusual-format and special-purpose records. By the end of the 1930s vinyl's advantages of light weight, relative unbreakability and low surface noise had made it the material of choice for prerecorded radio programming and other ... | unbreakable" children's records | advqa_10999 | adversarial_qa | expert | adversarial_reading_comprehension | null | [] | {} |
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