id stringlengths 24 24 | title stringclasses 442 values | context stringlengths 151 3.71k | question stringlengths 12 270 | answers dict |
|---|---|---|---|---|
5706262d52bb891400689904 | MP3 | Further work on MPEG audio was finalized in 1994 as part of the second suite of MPEG standards, MPEG-2, more formally known as international standard ISO/IEC 13818-3 (a.k.a. MPEG-2 Part 3 or backwards compatible MPEG-2 Audio or MPEG-2 Audio BC), originally published in 1995. MPEG-2 Part 3 (ISO/IEC 13818-3) defined additional bit rates and sample rates for MPEG-1 Audio Layer I, II and III. The new sampling rates are exactly half that of those originally defined in MPEG-1 Audio. This reduction in sampling rate serves to cut the available frequency fidelity in half while likewise cutting the bitrate by 50%. MPEG-2 Part 3 also enhanced MPEG-1's audio by allowing the coding of audio programs with more than two channels, up to 5.1 multichannel. | Allowing the coding of audio programs with more than two channels was a major aspect of what? | {
"answer_start": [
612
],
"text": [
"MPEG-2 Part 3"
]
} |
5706282e52bb89140068990a | MP3 | An additional extension to MPEG-2 is named MPEG-2.5 audio, as MPEG-3 already had a different meaning. This extension was developed at Fraunhofer IIS, the registered MP3 patent holders. Like MPEG-2, MPEG-2.5 adds new sampling rates exactly half of that previously possible with MPEG-2. It thus widens the scope of MP3 to include human speech and other applications requiring only 25% of the frequency reproduction possible with MPEG-1. While not an ISO recognized standard, MPEG-2.5 is widely supported by both inexpensive and brand name digital audio players as well as computer software based MP3 encoders and decoders. A sample rate comparison between MPEG-1, 2 and 2.5 is given further down. MPEG-2.5 was not developed by MPEG and was never approved as an international standard. MPEG-2.5 is thus an unofficial or proprietary extension to the MP3 format. | As MPEG-3 had a different meaning, what was the name given to the extension of MPEG-2? | {
"answer_start": [
43
],
"text": [
"MPEG-2.5 audio"
]
} |
5706282e52bb89140068990b | MP3 | An additional extension to MPEG-2 is named MPEG-2.5 audio, as MPEG-3 already had a different meaning. This extension was developed at Fraunhofer IIS, the registered MP3 patent holders. Like MPEG-2, MPEG-2.5 adds new sampling rates exactly half of that previously possible with MPEG-2. It thus widens the scope of MP3 to include human speech and other applications requiring only 25% of the frequency reproduction possible with MPEG-1. While not an ISO recognized standard, MPEG-2.5 is widely supported by both inexpensive and brand name digital audio players as well as computer software based MP3 encoders and decoders. A sample rate comparison between MPEG-1, 2 and 2.5 is given further down. MPEG-2.5 was not developed by MPEG and was never approved as an international standard. MPEG-2.5 is thus an unofficial or proprietary extension to the MP3 format. | Where was this extension developed? | {
"answer_start": [
134
],
"text": [
"Fraunhofer IIS"
]
} |
5706282e52bb89140068990c | MP3 | An additional extension to MPEG-2 is named MPEG-2.5 audio, as MPEG-3 already had a different meaning. This extension was developed at Fraunhofer IIS, the registered MP3 patent holders. Like MPEG-2, MPEG-2.5 adds new sampling rates exactly half of that previously possible with MPEG-2. It thus widens the scope of MP3 to include human speech and other applications requiring only 25% of the frequency reproduction possible with MPEG-1. While not an ISO recognized standard, MPEG-2.5 is widely supported by both inexpensive and brand name digital audio players as well as computer software based MP3 encoders and decoders. A sample rate comparison between MPEG-1, 2 and 2.5 is given further down. MPEG-2.5 was not developed by MPEG and was never approved as an international standard. MPEG-2.5 is thus an unofficial or proprietary extension to the MP3 format. | The new sampling rates widened the scope of MP3 to be able to include what? | {
"answer_start": [
328
],
"text": [
"human speech"
]
} |
5706282e52bb89140068990d | MP3 | An additional extension to MPEG-2 is named MPEG-2.5 audio, as MPEG-3 already had a different meaning. This extension was developed at Fraunhofer IIS, the registered MP3 patent holders. Like MPEG-2, MPEG-2.5 adds new sampling rates exactly half of that previously possible with MPEG-2. It thus widens the scope of MP3 to include human speech and other applications requiring only 25% of the frequency reproduction possible with MPEG-1. While not an ISO recognized standard, MPEG-2.5 is widely supported by both inexpensive and brand name digital audio players as well as computer software based MP3 encoders and decoders. A sample rate comparison between MPEG-1, 2 and 2.5 is given further down. MPEG-2.5 was not developed by MPEG and was never approved as an international standard. MPEG-2.5 is thus an unofficial or proprietary extension to the MP3 format. | What is not an ISO recognized standard? | {
"answer_start": [
473
],
"text": [
"MPEG-2.5"
]
} |
5706282e52bb89140068990e | MP3 | An additional extension to MPEG-2 is named MPEG-2.5 audio, as MPEG-3 already had a different meaning. This extension was developed at Fraunhofer IIS, the registered MP3 patent holders. Like MPEG-2, MPEG-2.5 adds new sampling rates exactly half of that previously possible with MPEG-2. It thus widens the scope of MP3 to include human speech and other applications requiring only 25% of the frequency reproduction possible with MPEG-1. While not an ISO recognized standard, MPEG-2.5 is widely supported by both inexpensive and brand name digital audio players as well as computer software based MP3 encoders and decoders. A sample rate comparison between MPEG-1, 2 and 2.5 is given further down. MPEG-2.5 was not developed by MPEG and was never approved as an international standard. MPEG-2.5 is thus an unofficial or proprietary extension to the MP3 format. | As MPEG-2.5 is unofficial, it is considered what kind of extension to the MP3 format? | {
"answer_start": [
817
],
"text": [
"proprietary"
]
} |
570629ba52bb891400689914 | MP3 | Compression efficiency of encoders is typically defined by the bit rate, because compression ratio depends on the bit depth and sampling rate of the input signal. Nevertheless, compression ratios are often published. They may use the Compact Disc (CD) parameters as references (44.1 kHz, 2 channels at 16 bits per channel or 2×16 bit), or sometimes the Digital Audio Tape (DAT) SP parameters (48 kHz, 2×16 bit). Compression ratios with this latter reference are higher, which demonstrates the problem with use of the term compression ratio for lossy encoders. | What defines the compression efficiency of encoders? | {
"answer_start": [
63
],
"text": [
"bit rate"
]
} |
570629ba52bb891400689915 | MP3 | Compression efficiency of encoders is typically defined by the bit rate, because compression ratio depends on the bit depth and sampling rate of the input signal. Nevertheless, compression ratios are often published. They may use the Compact Disc (CD) parameters as references (44.1 kHz, 2 channels at 16 bits per channel or 2×16 bit), or sometimes the Digital Audio Tape (DAT) SP parameters (48 kHz, 2×16 bit). Compression ratios with this latter reference are higher, which demonstrates the problem with use of the term compression ratio for lossy encoders. | Compression ratio depends on the sample rate and bit depth of which signal? | {
"answer_start": [
149
],
"text": [
"input"
]
} |
570629ba52bb891400689916 | MP3 | Compression efficiency of encoders is typically defined by the bit rate, because compression ratio depends on the bit depth and sampling rate of the input signal. Nevertheless, compression ratios are often published. They may use the Compact Disc (CD) parameters as references (44.1 kHz, 2 channels at 16 bits per channel or 2×16 bit), or sometimes the Digital Audio Tape (DAT) SP parameters (48 kHz, 2×16 bit). Compression ratios with this latter reference are higher, which demonstrates the problem with use of the term compression ratio for lossy encoders. | What does CD stand for? | {
"answer_start": [
234
],
"text": [
"Compact Disc"
]
} |
570629ba52bb891400689917 | MP3 | Compression efficiency of encoders is typically defined by the bit rate, because compression ratio depends on the bit depth and sampling rate of the input signal. Nevertheless, compression ratios are often published. They may use the Compact Disc (CD) parameters as references (44.1 kHz, 2 channels at 16 bits per channel or 2×16 bit), or sometimes the Digital Audio Tape (DAT) SP parameters (48 kHz, 2×16 bit). Compression ratios with this latter reference are higher, which demonstrates the problem with use of the term compression ratio for lossy encoders. | What can CD parameters be used as references for? | {
"answer_start": [
177
],
"text": [
"compression ratios"
]
} |
570629ba52bb891400689918 | MP3 | Compression efficiency of encoders is typically defined by the bit rate, because compression ratio depends on the bit depth and sampling rate of the input signal. Nevertheless, compression ratios are often published. They may use the Compact Disc (CD) parameters as references (44.1 kHz, 2 channels at 16 bits per channel or 2×16 bit), or sometimes the Digital Audio Tape (DAT) SP parameters (48 kHz, 2×16 bit). Compression ratios with this latter reference are higher, which demonstrates the problem with use of the term compression ratio for lossy encoders. | Other than CD parameters, what else can be used as parameter references? | {
"answer_start": [
353
],
"text": [
"Digital Audio Tape (DAT) SP"
]
} |
57062a3a75f01819005e7a14 | MP3 | Karlheinz Brandenburg used a CD recording of Suzanne Vega's song "Tom's Diner" to assess and refine the MP3 compression algorithm. This song was chosen because of its nearly monophonic nature and wide spectral content, making it easier to hear imperfections in the compression format during playbacks. Some refer to Suzanne Vega as "The mother of MP3". This particular track has an interesting property in that the two channels are almost, but not completely, the same, leading to a case where Binaural Masking Level Depression causes spatial unmasking of noise artifacts unless the encoder properly recognizes the situation and applies corrections similar to those detailed in the MPEG-2 AAC psychoacoustic model. Some more critical audio excerpts (glockenspiel, triangle, accordion, etc.) were taken from the EBU V3/SQAM reference compact disc and have been used by professional sound engineers to assess the subjective quality of the MPEG Audio formats. | What type of recording did Brandenburg use? | {
"answer_start": [
29
],
"text": [
"CD"
]
} |
57062a3a75f01819005e7a15 | MP3 | Karlheinz Brandenburg used a CD recording of Suzanne Vega's song "Tom's Diner" to assess and refine the MP3 compression algorithm. This song was chosen because of its nearly monophonic nature and wide spectral content, making it easier to hear imperfections in the compression format during playbacks. Some refer to Suzanne Vega as "The mother of MP3". This particular track has an interesting property in that the two channels are almost, but not completely, the same, leading to a case where Binaural Masking Level Depression causes spatial unmasking of noise artifacts unless the encoder properly recognizes the situation and applies corrections similar to those detailed in the MPEG-2 AAC psychoacoustic model. Some more critical audio excerpts (glockenspiel, triangle, accordion, etc.) were taken from the EBU V3/SQAM reference compact disc and have been used by professional sound engineers to assess the subjective quality of the MPEG Audio formats. | What did Brandenburg use the recording to refine? | {
"answer_start": [
100
],
"text": [
"the MP3 compression algorithm"
]
} |
57062a3a75f01819005e7a16 | MP3 | Karlheinz Brandenburg used a CD recording of Suzanne Vega's song "Tom's Diner" to assess and refine the MP3 compression algorithm. This song was chosen because of its nearly monophonic nature and wide spectral content, making it easier to hear imperfections in the compression format during playbacks. Some refer to Suzanne Vega as "The mother of MP3". This particular track has an interesting property in that the two channels are almost, but not completely, the same, leading to a case where Binaural Masking Level Depression causes spatial unmasking of noise artifacts unless the encoder properly recognizes the situation and applies corrections similar to those detailed in the MPEG-2 AAC psychoacoustic model. Some more critical audio excerpts (glockenspiel, triangle, accordion, etc.) were taken from the EBU V3/SQAM reference compact disc and have been used by professional sound engineers to assess the subjective quality of the MPEG Audio formats. | What word describes the nature of the song used? | {
"answer_start": [
174
],
"text": [
"monophonic"
]
} |
57062a3a75f01819005e7a17 | MP3 | Karlheinz Brandenburg used a CD recording of Suzanne Vega's song "Tom's Diner" to assess and refine the MP3 compression algorithm. This song was chosen because of its nearly monophonic nature and wide spectral content, making it easier to hear imperfections in the compression format during playbacks. Some refer to Suzanne Vega as "The mother of MP3". This particular track has an interesting property in that the two channels are almost, but not completely, the same, leading to a case where Binaural Masking Level Depression causes spatial unmasking of noise artifacts unless the encoder properly recognizes the situation and applies corrections similar to those detailed in the MPEG-2 AAC psychoacoustic model. Some more critical audio excerpts (glockenspiel, triangle, accordion, etc.) were taken from the EBU V3/SQAM reference compact disc and have been used by professional sound engineers to assess the subjective quality of the MPEG Audio formats. | As a result of her song being used, Suzanne Vega is sometimes referred to as what? | {
"answer_start": [
333
],
"text": [
"The mother of MP3"
]
} |
57062a3a75f01819005e7a18 | MP3 | Karlheinz Brandenburg used a CD recording of Suzanne Vega's song "Tom's Diner" to assess and refine the MP3 compression algorithm. This song was chosen because of its nearly monophonic nature and wide spectral content, making it easier to hear imperfections in the compression format during playbacks. Some refer to Suzanne Vega as "The mother of MP3". This particular track has an interesting property in that the two channels are almost, but not completely, the same, leading to a case where Binaural Masking Level Depression causes spatial unmasking of noise artifacts unless the encoder properly recognizes the situation and applies corrections similar to those detailed in the MPEG-2 AAC psychoacoustic model. Some more critical audio excerpts (glockenspiel, triangle, accordion, etc.) were taken from the EBU V3/SQAM reference compact disc and have been used by professional sound engineers to assess the subjective quality of the MPEG Audio formats. | Excerpts were taken from which reference compact disc to assess the subjective quality of the MPEG audio formats? | {
"answer_start": [
811
],
"text": [
"EBU V3/SQAM"
]
} |
57062b6152bb89140068991e | MP3 | A reference simulation software implementation, written in the C language and later known as ISO 11172-5, was developed (in 1991–1996) by the members of the ISO MPEG Audio committee in order to produce bit compliant MPEG Audio files (Layer 1, Layer 2, Layer 3). It was approved as a committee draft of ISO/IEC technical report in March 1994 and printed as document CD 11172-5 in April 1994. It was approved as a draft technical report (DTR/DIS) in November 1994, finalized in 1996 and published as international standard ISO/IEC TR 11172-5:1998 in 1998. The reference software in C language was later published as a freely available ISO standard. Working in non-real time on a number of operating systems, it was able to demonstrate the first real time hardware decoding (DSP based) of compressed audio. Some other real time implementation of MPEG Audio encoders were available for the purpose of digital broadcasting (radio DAB, television DVB) towards consumer receivers and set top boxes. | Which language was the reference simulation software written in? | {
"answer_start": [
63
],
"text": [
"C"
]
} |
57062b6152bb89140068991f | MP3 | A reference simulation software implementation, written in the C language and later known as ISO 11172-5, was developed (in 1991–1996) by the members of the ISO MPEG Audio committee in order to produce bit compliant MPEG Audio files (Layer 1, Layer 2, Layer 3). It was approved as a committee draft of ISO/IEC technical report in March 1994 and printed as document CD 11172-5 in April 1994. It was approved as a draft technical report (DTR/DIS) in November 1994, finalized in 1996 and published as international standard ISO/IEC TR 11172-5:1998 in 1998. The reference software in C language was later published as a freely available ISO standard. Working in non-real time on a number of operating systems, it was able to demonstrate the first real time hardware decoding (DSP based) of compressed audio. Some other real time implementation of MPEG Audio encoders were available for the purpose of digital broadcasting (radio DAB, television DVB) towards consumer receivers and set top boxes. | Who developed the reference simulation software? | {
"answer_start": [
153
],
"text": [
"the ISO MPEG Audio committee"
]
} |
57062b6152bb891400689920 | MP3 | A reference simulation software implementation, written in the C language and later known as ISO 11172-5, was developed (in 1991–1996) by the members of the ISO MPEG Audio committee in order to produce bit compliant MPEG Audio files (Layer 1, Layer 2, Layer 3). It was approved as a committee draft of ISO/IEC technical report in March 1994 and printed as document CD 11172-5 in April 1994. It was approved as a draft technical report (DTR/DIS) in November 1994, finalized in 1996 and published as international standard ISO/IEC TR 11172-5:1998 in 1998. The reference software in C language was later published as a freely available ISO standard. Working in non-real time on a number of operating systems, it was able to demonstrate the first real time hardware decoding (DSP based) of compressed audio. Some other real time implementation of MPEG Audio encoders were available for the purpose of digital broadcasting (radio DAB, television DVB) towards consumer receivers and set top boxes. | When was the reference software approved? | {
"answer_start": [
330
],
"text": [
"March 1994"
]
} |
57062b6152bb891400689921 | MP3 | A reference simulation software implementation, written in the C language and later known as ISO 11172-5, was developed (in 1991–1996) by the members of the ISO MPEG Audio committee in order to produce bit compliant MPEG Audio files (Layer 1, Layer 2, Layer 3). It was approved as a committee draft of ISO/IEC technical report in March 1994 and printed as document CD 11172-5 in April 1994. It was approved as a draft technical report (DTR/DIS) in November 1994, finalized in 1996 and published as international standard ISO/IEC TR 11172-5:1998 in 1998. The reference software in C language was later published as a freely available ISO standard. Working in non-real time on a number of operating systems, it was able to demonstrate the first real time hardware decoding (DSP based) of compressed audio. Some other real time implementation of MPEG Audio encoders were available for the purpose of digital broadcasting (radio DAB, television DVB) towards consumer receivers and set top boxes. | When did the reference software become an international standard? | {
"answer_start": [
548
],
"text": [
"1998"
]
} |
57062b6152bb891400689922 | MP3 | A reference simulation software implementation, written in the C language and later known as ISO 11172-5, was developed (in 1991–1996) by the members of the ISO MPEG Audio committee in order to produce bit compliant MPEG Audio files (Layer 1, Layer 2, Layer 3). It was approved as a committee draft of ISO/IEC technical report in March 1994 and printed as document CD 11172-5 in April 1994. It was approved as a draft technical report (DTR/DIS) in November 1994, finalized in 1996 and published as international standard ISO/IEC TR 11172-5:1998 in 1998. The reference software in C language was later published as a freely available ISO standard. Working in non-real time on a number of operating systems, it was able to demonstrate the first real time hardware decoding (DSP based) of compressed audio. Some other real time implementation of MPEG Audio encoders were available for the purpose of digital broadcasting (radio DAB, television DVB) towards consumer receivers and set top boxes. | What could the reference software demonstrate? | {
"answer_start": [
743
],
"text": [
"real time hardware decoding"
]
} |
57062c2552bb891400689928 | MP3 | On 7 July 1994, the Fraunhofer Society released the first software MP3 encoder called l3enc. The filename extension .mp3 was chosen by the Fraunhofer team on 14 July 1995 (previously, the files had been named .bit). With the first real-time software MP3 player WinPlay3 (released 9 September 1995) many people were able to encode and play back MP3 files on their PCs. Because of the relatively small hard drives back in that time (~ 500–1000 MB) lossy compression was essential to store non-instrument based (see tracker and MIDI) music for playback on computer. | When was the first software MP3 encoder released? | {
"answer_start": [
3
],
"text": [
"7 July 1994"
]
} |
57062c2552bb891400689929 | MP3 | On 7 July 1994, the Fraunhofer Society released the first software MP3 encoder called l3enc. The filename extension .mp3 was chosen by the Fraunhofer team on 14 July 1995 (previously, the files had been named .bit). With the first real-time software MP3 player WinPlay3 (released 9 September 1995) many people were able to encode and play back MP3 files on their PCs. Because of the relatively small hard drives back in that time (~ 500–1000 MB) lossy compression was essential to store non-instrument based (see tracker and MIDI) music for playback on computer. | What was the name of the first software MP3 encoder? | {
"answer_start": [
86
],
"text": [
"l3enc"
]
} |
57062c2552bb89140068992a | MP3 | On 7 July 1994, the Fraunhofer Society released the first software MP3 encoder called l3enc. The filename extension .mp3 was chosen by the Fraunhofer team on 14 July 1995 (previously, the files had been named .bit). With the first real-time software MP3 player WinPlay3 (released 9 September 1995) many people were able to encode and play back MP3 files on their PCs. Because of the relatively small hard drives back in that time (~ 500–1000 MB) lossy compression was essential to store non-instrument based (see tracker and MIDI) music for playback on computer. | What was the filename extension? | {
"answer_start": [
116
],
"text": [
".mp3"
]
} |
57062c2552bb89140068992b | MP3 | On 7 July 1994, the Fraunhofer Society released the first software MP3 encoder called l3enc. The filename extension .mp3 was chosen by the Fraunhofer team on 14 July 1995 (previously, the files had been named .bit). With the first real-time software MP3 player WinPlay3 (released 9 September 1995) many people were able to encode and play back MP3 files on their PCs. Because of the relatively small hard drives back in that time (~ 500–1000 MB) lossy compression was essential to store non-instrument based (see tracker and MIDI) music for playback on computer. | What was the name of the first real-time software MP3 player? | {
"answer_start": [
261
],
"text": [
"WinPlay3"
]
} |
57062c2552bb89140068992c | MP3 | On 7 July 1994, the Fraunhofer Society released the first software MP3 encoder called l3enc. The filename extension .mp3 was chosen by the Fraunhofer team on 14 July 1995 (previously, the files had been named .bit). With the first real-time software MP3 player WinPlay3 (released 9 September 1995) many people were able to encode and play back MP3 files on their PCs. Because of the relatively small hard drives back in that time (~ 500–1000 MB) lossy compression was essential to store non-instrument based (see tracker and MIDI) music for playback on computer. | What was the average high end hard drive size? | {
"answer_start": [
437
],
"text": [
"1000 MB"
]
} |
57062c9b52bb891400689932 | MP3 | As sound scholar Jonathan Sterne notes, "An Australian hacker acquired l3enc using a stolen credit card. The hacker then reverse-engineered the software, wrote a new user interface, and redistributed it for free, naming it "thank you Fraunhofer"". | What was Jonathan Sterne's profession? | {
"answer_start": [
3
],
"text": [
"sound scholar"
]
} |
57062c9b52bb891400689933 | MP3 | As sound scholar Jonathan Sterne notes, "An Australian hacker acquired l3enc using a stolen credit card. The hacker then reverse-engineered the software, wrote a new user interface, and redistributed it for free, naming it "thank you Fraunhofer"". | Which nationality was the hacker who acquired I3enc? | {
"answer_start": [
44
],
"text": [
"Australian"
]
} |
57062c9b52bb891400689934 | MP3 | As sound scholar Jonathan Sterne notes, "An Australian hacker acquired l3enc using a stolen credit card. The hacker then reverse-engineered the software, wrote a new user interface, and redistributed it for free, naming it "thank you Fraunhofer"". | What did the hacker use to acquire the software? | {
"answer_start": [
85
],
"text": [
"stolen credit card"
]
} |
57062c9b52bb891400689935 | MP3 | As sound scholar Jonathan Sterne notes, "An Australian hacker acquired l3enc using a stolen credit card. The hacker then reverse-engineered the software, wrote a new user interface, and redistributed it for free, naming it "thank you Fraunhofer"". | The hacker re-wrote which element of the program? | {
"answer_start": [
166
],
"text": [
"user interface"
]
} |
57062c9b52bb891400689936 | MP3 | As sound scholar Jonathan Sterne notes, "An Australian hacker acquired l3enc using a stolen credit card. The hacker then reverse-engineered the software, wrote a new user interface, and redistributed it for free, naming it "thank you Fraunhofer"". | How much did the new released program by the hacker cost? | {
"answer_start": [
207
],
"text": [
"free"
]
} |
57062dd675f01819005e7a32 | MP3 | In the second half of '90s, MP3 files began to spread on the Internet. The popularity of MP3s began to rise rapidly with the advent of Nullsoft's audio player Winamp, released in 1997. In 1998, the first portable solid state digital audio player MPMan, developed by SaeHan Information Systems which is headquartered in Seoul, South Korea, was released and the Rio PMP300 was sold afterwards in 1998, despite legal suppression efforts by the RIAA. | Where did MP3s begin to spread? | {
"answer_start": [
57
],
"text": [
"the Internet"
]
} |
57062dd675f01819005e7a33 | MP3 | In the second half of '90s, MP3 files began to spread on the Internet. The popularity of MP3s began to rise rapidly with the advent of Nullsoft's audio player Winamp, released in 1997. In 1998, the first portable solid state digital audio player MPMan, developed by SaeHan Information Systems which is headquartered in Seoul, South Korea, was released and the Rio PMP300 was sold afterwards in 1998, despite legal suppression efforts by the RIAA. | Which audio player was released in 1997? | {
"answer_start": [
159
],
"text": [
"Winamp"
]
} |
57062dd675f01819005e7a34 | MP3 | In the second half of '90s, MP3 files began to spread on the Internet. The popularity of MP3s began to rise rapidly with the advent of Nullsoft's audio player Winamp, released in 1997. In 1998, the first portable solid state digital audio player MPMan, developed by SaeHan Information Systems which is headquartered in Seoul, South Korea, was released and the Rio PMP300 was sold afterwards in 1998, despite legal suppression efforts by the RIAA. | Who released the audio player? | {
"answer_start": [
135
],
"text": [
"Nullsoft"
]
} |
57062dd675f01819005e7a35 | MP3 | In the second half of '90s, MP3 files began to spread on the Internet. The popularity of MP3s began to rise rapidly with the advent of Nullsoft's audio player Winamp, released in 1997. In 1998, the first portable solid state digital audio player MPMan, developed by SaeHan Information Systems which is headquartered in Seoul, South Korea, was released and the Rio PMP300 was sold afterwards in 1998, despite legal suppression efforts by the RIAA. | What was the name of the first portable solid state digital audio player? | {
"answer_start": [
246
],
"text": [
"MPMan"
]
} |
57062dd675f01819005e7a36 | MP3 | In the second half of '90s, MP3 files began to spread on the Internet. The popularity of MP3s began to rise rapidly with the advent of Nullsoft's audio player Winamp, released in 1997. In 1998, the first portable solid state digital audio player MPMan, developed by SaeHan Information Systems which is headquartered in Seoul, South Korea, was released and the Rio PMP300 was sold afterwards in 1998, despite legal suppression efforts by the RIAA. | In which country was the first portable audio player developed? | {
"answer_start": [
326
],
"text": [
"South Korea"
]
} |
57062e7e52bb89140068993c | MP3 | In November 1997, the website mp3.com was offering thousands of MP3s created by independent artists for free. The small size of MP3 files enabled widespread peer-to-peer file sharing of music ripped from CDs, which would have previously been nearly impossible. The first large peer-to-peer filesharing network, Napster, was launched in 1999. | Which website offered MP3s for free? | {
"answer_start": [
30
],
"text": [
"mp3.com"
]
} |
57062e7e52bb89140068993d | MP3 | In November 1997, the website mp3.com was offering thousands of MP3s created by independent artists for free. The small size of MP3 files enabled widespread peer-to-peer file sharing of music ripped from CDs, which would have previously been nearly impossible. The first large peer-to-peer filesharing network, Napster, was launched in 1999. | How many MP3s were offered for free by the website? | {
"answer_start": [
51
],
"text": [
"thousands"
]
} |
57062e7e52bb89140068993e | MP3 | In November 1997, the website mp3.com was offering thousands of MP3s created by independent artists for free. The small size of MP3 files enabled widespread peer-to-peer file sharing of music ripped from CDs, which would have previously been nearly impossible. The first large peer-to-peer filesharing network, Napster, was launched in 1999. | What kind of file sharing became popular due to the file sizes of MP3s? | {
"answer_start": [
157
],
"text": [
"peer-to-peer"
]
} |
57062e7e52bb89140068993f | MP3 | In November 1997, the website mp3.com was offering thousands of MP3s created by independent artists for free. The small size of MP3 files enabled widespread peer-to-peer file sharing of music ripped from CDs, which would have previously been nearly impossible. The first large peer-to-peer filesharing network, Napster, was launched in 1999. | How did people come into possession of MP3s? | {
"answer_start": [
192
],
"text": [
"ripped from CDs"
]
} |
57062e7e52bb891400689940 | MP3 | In November 1997, the website mp3.com was offering thousands of MP3s created by independent artists for free. The small size of MP3 files enabled widespread peer-to-peer file sharing of music ripped from CDs, which would have previously been nearly impossible. The first large peer-to-peer filesharing network, Napster, was launched in 1999. | Which network was the first large peer to peer file sharing network? | {
"answer_start": [
311
],
"text": [
"Napster"
]
} |
57062ef375f01819005e7a46 | MP3 | The ease of creating and sharing MP3s resulted in widespread copyright infringement. Major record companies argued that this free sharing of music reduced sales, and called it "music piracy". They reacted by pursuing lawsuits against Napster (which was eventually shut down and later sold) and against individual users who engaged in file sharing. | What kind of infringement resulted from sharing MP3s? | {
"answer_start": [
61
],
"text": [
"copyright"
]
} |
57062ef375f01819005e7a47 | MP3 | The ease of creating and sharing MP3s resulted in widespread copyright infringement. Major record companies argued that this free sharing of music reduced sales, and called it "music piracy". They reacted by pursuing lawsuits against Napster (which was eventually shut down and later sold) and against individual users who engaged in file sharing. | What name did the record companies associate with MP3 file sharing? | {
"answer_start": [
177
],
"text": [
"music piracy"
]
} |
57062ef375f01819005e7a48 | MP3 | The ease of creating and sharing MP3s resulted in widespread copyright infringement. Major record companies argued that this free sharing of music reduced sales, and called it "music piracy". They reacted by pursuing lawsuits against Napster (which was eventually shut down and later sold) and against individual users who engaged in file sharing. | Who was the target of the record companies? | {
"answer_start": [
234
],
"text": [
"Napster"
]
} |
57062ef375f01819005e7a49 | MP3 | The ease of creating and sharing MP3s resulted in widespread copyright infringement. Major record companies argued that this free sharing of music reduced sales, and called it "music piracy". They reacted by pursuing lawsuits against Napster (which was eventually shut down and later sold) and against individual users who engaged in file sharing. | What happened to Napster? | {
"answer_start": [
264
],
"text": [
"shut down and later sold"
]
} |
57062f6975f01819005e7a58 | MP3 | Unauthorized MP3 file sharing continues on next-generation peer-to-peer networks. Some authorized services, such as Beatport, Bleep, Juno Records, eMusic, Zune Marketplace, Walmart.com, Rhapsody, the recording industry approved re-incarnation of Napster, and Amazon.com sell unrestricted music in the MP3 format. | What kind of MP3 file sharing continues on? | {
"answer_start": [
0
],
"text": [
"Unauthorized"
]
} |
57062f6975f01819005e7a59 | MP3 | Unauthorized MP3 file sharing continues on next-generation peer-to-peer networks. Some authorized services, such as Beatport, Bleep, Juno Records, eMusic, Zune Marketplace, Walmart.com, Rhapsody, the recording industry approved re-incarnation of Napster, and Amazon.com sell unrestricted music in the MP3 format. | Beatport, Bleep and Juno records are examples of what kind of service? | {
"answer_start": [
87
],
"text": [
"authorized"
]
} |
57062f6975f01819005e7a5a | MP3 | Unauthorized MP3 file sharing continues on next-generation peer-to-peer networks. Some authorized services, such as Beatport, Bleep, Juno Records, eMusic, Zune Marketplace, Walmart.com, Rhapsody, the recording industry approved re-incarnation of Napster, and Amazon.com sell unrestricted music in the MP3 format. | What kind of music is sold by these companies? | {
"answer_start": [
275
],
"text": [
"unrestricted"
]
} |
57062f6975f01819005e7a5b | MP3 | Unauthorized MP3 file sharing continues on next-generation peer-to-peer networks. Some authorized services, such as Beatport, Bleep, Juno Records, eMusic, Zune Marketplace, Walmart.com, Rhapsody, the recording industry approved re-incarnation of Napster, and Amazon.com sell unrestricted music in the MP3 format. | Which format is used by the companies that sell the music legally? | {
"answer_start": [
301
],
"text": [
"MP3"
]
} |
5706300775f01819005e7a60 | MP3 | An MP3 file is made up of MP3 frames, which consist of a header and a data block. This sequence of frames is called an elementary stream. Due to the "byte reservoir", frames are not independent items and cannot usually be extracted on arbitrary frame boundaries. The MP3 Data blocks contain the (compressed) audio information in terms of frequencies and amplitudes. The diagram shows that the MP3 Header consists of a sync word, which is used to identify the beginning of a valid frame. This is followed by a bit indicating that this is the MPEG standard and two bits that indicate that layer 3 is used; hence MPEG-1 Audio Layer 3 or MP3. After this, the values will differ, depending on the MP3 file. ISO/IEC 11172-3 defines the range of values for each section of the header along with the specification of the header. Most MP3 files today contain ID3 metadata, which precedes or follows the MP3 frames, as noted in the diagram. | A header and data block together make up what? | {
"answer_start": [
26
],
"text": [
"MP3 frames"
]
} |
5706300775f01819005e7a61 | MP3 | An MP3 file is made up of MP3 frames, which consist of a header and a data block. This sequence of frames is called an elementary stream. Due to the "byte reservoir", frames are not independent items and cannot usually be extracted on arbitrary frame boundaries. The MP3 Data blocks contain the (compressed) audio information in terms of frequencies and amplitudes. The diagram shows that the MP3 Header consists of a sync word, which is used to identify the beginning of a valid frame. This is followed by a bit indicating that this is the MPEG standard and two bits that indicate that layer 3 is used; hence MPEG-1 Audio Layer 3 or MP3. After this, the values will differ, depending on the MP3 file. ISO/IEC 11172-3 defines the range of values for each section of the header along with the specification of the header. Most MP3 files today contain ID3 metadata, which precedes or follows the MP3 frames, as noted in the diagram. | What is a sequence of MP3 frames called? | {
"answer_start": [
119
],
"text": [
"elementary stream"
]
} |
5706300775f01819005e7a62 | MP3 | An MP3 file is made up of MP3 frames, which consist of a header and a data block. This sequence of frames is called an elementary stream. Due to the "byte reservoir", frames are not independent items and cannot usually be extracted on arbitrary frame boundaries. The MP3 Data blocks contain the (compressed) audio information in terms of frequencies and amplitudes. The diagram shows that the MP3 Header consists of a sync word, which is used to identify the beginning of a valid frame. This is followed by a bit indicating that this is the MPEG standard and two bits that indicate that layer 3 is used; hence MPEG-1 Audio Layer 3 or MP3. After this, the values will differ, depending on the MP3 file. ISO/IEC 11172-3 defines the range of values for each section of the header along with the specification of the header. Most MP3 files today contain ID3 metadata, which precedes or follows the MP3 frames, as noted in the diagram. | What is used to identify the begining of a valid frame of an MP3 header? | {
"answer_start": [
550
],
"text": [
"dard"
]
} |
5706300775f01819005e7a63 | MP3 | An MP3 file is made up of MP3 frames, which consist of a header and a data block. This sequence of frames is called an elementary stream. Due to the "byte reservoir", frames are not independent items and cannot usually be extracted on arbitrary frame boundaries. The MP3 Data blocks contain the (compressed) audio information in terms of frequencies and amplitudes. The diagram shows that the MP3 Header consists of a sync word, which is used to identify the beginning of a valid frame. This is followed by a bit indicating that this is the MPEG standard and two bits that indicate that layer 3 is used; hence MPEG-1 Audio Layer 3 or MP3. After this, the values will differ, depending on the MP3 file. ISO/IEC 11172-3 defines the range of values for each section of the header along with the specification of the header. Most MP3 files today contain ID3 metadata, which precedes or follows the MP3 frames, as noted in the diagram. | How many bits are needed to indicate that layer 3 is used? | {
"answer_start": [
559
],
"text": [
"two"
]
} |
5706300775f01819005e7a64 | MP3 | An MP3 file is made up of MP3 frames, which consist of a header and a data block. This sequence of frames is called an elementary stream. Due to the "byte reservoir", frames are not independent items and cannot usually be extracted on arbitrary frame boundaries. The MP3 Data blocks contain the (compressed) audio information in terms of frequencies and amplitudes. The diagram shows that the MP3 Header consists of a sync word, which is used to identify the beginning of a valid frame. This is followed by a bit indicating that this is the MPEG standard and two bits that indicate that layer 3 is used; hence MPEG-1 Audio Layer 3 or MP3. After this, the values will differ, depending on the MP3 file. ISO/IEC 11172-3 defines the range of values for each section of the header along with the specification of the header. Most MP3 files today contain ID3 metadata, which precedes or follows the MP3 frames, as noted in the diagram. | MP3 files today contain what kind of metadeta? | {
"answer_start": [
850
],
"text": [
"ID3"
]
} |
5706315b52bb891400689950 | MP3 | The MPEG-1 standard does not include a precise specification for an MP3 encoder, but does provide example psychoacoustic models, rate loop, and the like in the non-normative part of the original standard. At present, these suggested implementations are quite dated. Implementers of the standard were supposed to devise their own algorithms suitable for removing parts of the information from the audio input. As a result, there are many different MP3 encoders available, each producing files of differing quality. Comparisons are widely available, so it is easy for a prospective user of an encoder to research the best choice. An encoder that is proficient at encoding at higher bit rates (such as LAME) is not necessarily as good at lower bit rates. | Which standard does not include a specification for an MP3 encoder? | {
"answer_start": [
4
],
"text": [
"MPEG-1"
]
} |
5706315b52bb891400689951 | MP3 | The MPEG-1 standard does not include a precise specification for an MP3 encoder, but does provide example psychoacoustic models, rate loop, and the like in the non-normative part of the original standard. At present, these suggested implementations are quite dated. Implementers of the standard were supposed to devise their own algorithms suitable for removing parts of the information from the audio input. As a result, there are many different MP3 encoders available, each producing files of differing quality. Comparisons are widely available, so it is easy for a prospective user of an encoder to research the best choice. An encoder that is proficient at encoding at higher bit rates (such as LAME) is not necessarily as good at lower bit rates. | Example psychoacoustic models and rate loops can be foundin which part of the original standard? | {
"answer_start": [
160
],
"text": [
"non-normative"
]
} |
5706315b52bb891400689952 | MP3 | The MPEG-1 standard does not include a precise specification for an MP3 encoder, but does provide example psychoacoustic models, rate loop, and the like in the non-normative part of the original standard. At present, these suggested implementations are quite dated. Implementers of the standard were supposed to devise their own algorithms suitable for removing parts of the information from the audio input. As a result, there are many different MP3 encoders available, each producing files of differing quality. Comparisons are widely available, so it is easy for a prospective user of an encoder to research the best choice. An encoder that is proficient at encoding at higher bit rates (such as LAME) is not necessarily as good at lower bit rates. | What were implementers of the standard supposed to devise? | {
"answer_start": [
319
],
"text": [
"their own algorithms"
]
} |
5706315b52bb891400689953 | MP3 | The MPEG-1 standard does not include a precise specification for an MP3 encoder, but does provide example psychoacoustic models, rate loop, and the like in the non-normative part of the original standard. At present, these suggested implementations are quite dated. Implementers of the standard were supposed to devise their own algorithms suitable for removing parts of the information from the audio input. As a result, there are many different MP3 encoders available, each producing files of differing quality. Comparisons are widely available, so it is easy for a prospective user of an encoder to research the best choice. An encoder that is proficient at encoding at higher bit rates (such as LAME) is not necessarily as good at lower bit rates. | It is easy for a prospective user of an encoder to research the best choice because of what factor? | {
"answer_start": [
514
],
"text": [
"Comparisons are widely available"
]
} |
5706315b52bb891400689954 | MP3 | The MPEG-1 standard does not include a precise specification for an MP3 encoder, but does provide example psychoacoustic models, rate loop, and the like in the non-normative part of the original standard. At present, these suggested implementations are quite dated. Implementers of the standard were supposed to devise their own algorithms suitable for removing parts of the information from the audio input. As a result, there are many different MP3 encoders available, each producing files of differing quality. Comparisons are widely available, so it is easy for a prospective user of an encoder to research the best choice. An encoder that is proficient at encoding at higher bit rates (such as LAME) is not necessarily as good at lower bit rates. | An encoder that is proficient at encoding at higher bit rates might be worse at what? | {
"answer_start": [
735
],
"text": [
"lower bit rates"
]
} |
5706324275f01819005e7a6a | MP3 | During encoding, 576 time-domain samples are taken and are transformed to 576 frequency-domain samples.[clarification needed] If there is a transient, 192 samples are taken instead of 576. This is done to limit the temporal spread of quantization noise accompanying the transient. (See psychoacoustics.) | How many domain samples are taken during encoding? | {
"answer_start": [
17
],
"text": [
"576"
]
} |
5706324275f01819005e7a6b | MP3 | During encoding, 576 time-domain samples are taken and are transformed to 576 frequency-domain samples.[clarification needed] If there is a transient, 192 samples are taken instead of 576. This is done to limit the temporal spread of quantization noise accompanying the transient. (See psychoacoustics.) | Domain samples are transformed into what? | {
"answer_start": [
78
],
"text": [
"frequency-domain samples"
]
} |
5706324275f01819005e7a6c | MP3 | During encoding, 576 time-domain samples are taken and are transformed to 576 frequency-domain samples.[clarification needed] If there is a transient, 192 samples are taken instead of 576. This is done to limit the temporal spread of quantization noise accompanying the transient. (See psychoacoustics.) | When are 192 samples taken instead of 576? | {
"answer_start": [
129
],
"text": [
"there is a transient"
]
} |
5706324275f01819005e7a6d | MP3 | During encoding, 576 time-domain samples are taken and are transformed to 576 frequency-domain samples.[clarification needed] If there is a transient, 192 samples are taken instead of 576. This is done to limit the temporal spread of quantization noise accompanying the transient. (See psychoacoustics.) | When 192 samples are taken instead of 576, it is done in an effort to limit what? | {
"answer_start": [
215
],
"text": [
"temporal spread"
]
} |
5706324275f01819005e7a6e | MP3 | During encoding, 576 time-domain samples are taken and are transformed to 576 frequency-domain samples.[clarification needed] If there is a transient, 192 samples are taken instead of 576. This is done to limit the temporal spread of quantization noise accompanying the transient. (See psychoacoustics.) | What accompanies a transient? | {
"answer_start": [
234
],
"text": [
"quantization noise"
]
} |
5706336875f01819005e7a86 | MP3 | Due to the tree structure of the filter bank, pre-echo problems are made worse, as the combined impulse response of the two filter banks does not, and cannot, provide an optimum solution in time/frequency resolution. Additionally, the combining of the two filter banks' outputs creates aliasing problems that must be handled partially by the "aliasing compensation" stage; however, that creates excess energy to be coded in the frequency domain, thereby decreasing coding efficiency.[citation needed] | What kind of structure does a filter bank have? | {
"answer_start": [
11
],
"text": [
"tree"
]
} |
5706336875f01819005e7a87 | MP3 | Due to the tree structure of the filter bank, pre-echo problems are made worse, as the combined impulse response of the two filter banks does not, and cannot, provide an optimum solution in time/frequency resolution. Additionally, the combining of the two filter banks' outputs creates aliasing problems that must be handled partially by the "aliasing compensation" stage; however, that creates excess energy to be coded in the frequency domain, thereby decreasing coding efficiency.[citation needed] | Due to a specific kind of structure, what kind of problems are made worse? | {
"answer_start": [
46
],
"text": [
"pre-echo problems"
]
} |
5706336875f01819005e7a88 | MP3 | Due to the tree structure of the filter bank, pre-echo problems are made worse, as the combined impulse response of the two filter banks does not, and cannot, provide an optimum solution in time/frequency resolution. Additionally, the combining of the two filter banks' outputs creates aliasing problems that must be handled partially by the "aliasing compensation" stage; however, that creates excess energy to be coded in the frequency domain, thereby decreasing coding efficiency.[citation needed] | What kind of resolution are the filter banks unable to provide an optimal solution for? | {
"answer_start": [
190
],
"text": [
"time/frequency"
]
} |
5706336875f01819005e7a89 | MP3 | Due to the tree structure of the filter bank, pre-echo problems are made worse, as the combined impulse response of the two filter banks does not, and cannot, provide an optimum solution in time/frequency resolution. Additionally, the combining of the two filter banks' outputs creates aliasing problems that must be handled partially by the "aliasing compensation" stage; however, that creates excess energy to be coded in the frequency domain, thereby decreasing coding efficiency.[citation needed] | Combining two filter banks' outputs creates what kind of problem? | {
"answer_start": [
286
],
"text": [
"aliasing"
]
} |
5706336875f01819005e7a8a | MP3 | Due to the tree structure of the filter bank, pre-echo problems are made worse, as the combined impulse response of the two filter banks does not, and cannot, provide an optimum solution in time/frequency resolution. Additionally, the combining of the two filter banks' outputs creates aliasing problems that must be handled partially by the "aliasing compensation" stage; however, that creates excess energy to be coded in the frequency domain, thereby decreasing coding efficiency.[citation needed] | The need to code excess energy in the frequency domain decreases what kind of efficiency? | {
"answer_start": [
465
],
"text": [
"coding"
]
} |
5706347875f01819005e7a90 | MP3 | Decoding, on the other hand, is carefully defined in the standard. Most decoders are "bitstream compliant", which means that the decompressed output that they produce from a given MP3 file will be the same, within a specified degree of rounding tolerance, as the output specified mathematically in the ISO/IEC high standard document (ISO/IEC 11172-3). Therefore, comparison of decoders is usually based on how computationally efficient they are (i.e., how much memory or CPU time they use in the decoding process). | What is carefully defined in the standard? | {
"answer_start": [
0
],
"text": [
"Decoding"
]
} |
5706347875f01819005e7a91 | MP3 | Decoding, on the other hand, is carefully defined in the standard. Most decoders are "bitstream compliant", which means that the decompressed output that they produce from a given MP3 file will be the same, within a specified degree of rounding tolerance, as the output specified mathematically in the ISO/IEC high standard document (ISO/IEC 11172-3). Therefore, comparison of decoders is usually based on how computationally efficient they are (i.e., how much memory or CPU time they use in the decoding process). | What are most decoders? | {
"answer_start": [
86
],
"text": [
"bitstream compliant"
]
} |
5706347875f01819005e7a92 | MP3 | Decoding, on the other hand, is carefully defined in the standard. Most decoders are "bitstream compliant", which means that the decompressed output that they produce from a given MP3 file will be the same, within a specified degree of rounding tolerance, as the output specified mathematically in the ISO/IEC high standard document (ISO/IEC 11172-3). Therefore, comparison of decoders is usually based on how computationally efficient they are (i.e., how much memory or CPU time they use in the decoding process). | The ISO/IEC high standard document states that the decompressed output produced from a given MP3 file will be the same within what standards? | {
"answer_start": [
216
],
"text": [
"specified degree of rounding tolerance"
]
} |
5706347875f01819005e7a93 | MP3 | Decoding, on the other hand, is carefully defined in the standard. Most decoders are "bitstream compliant", which means that the decompressed output that they produce from a given MP3 file will be the same, within a specified degree of rounding tolerance, as the output specified mathematically in the ISO/IEC high standard document (ISO/IEC 11172-3). Therefore, comparison of decoders is usually based on how computationally efficient they are (i.e., how much memory or CPU time they use in the decoding process). | Decoders are usually compared by examining which factor? | {
"answer_start": [
410
],
"text": [
"computationally efficient"
]
} |
5706347875f01819005e7a94 | MP3 | Decoding, on the other hand, is carefully defined in the standard. Most decoders are "bitstream compliant", which means that the decompressed output that they produce from a given MP3 file will be the same, within a specified degree of rounding tolerance, as the output specified mathematically in the ISO/IEC high standard document (ISO/IEC 11172-3). Therefore, comparison of decoders is usually based on how computationally efficient they are (i.e., how much memory or CPU time they use in the decoding process). | The efficiency of decoders is examined by seeing how much memory and what other process they use in the decoding process? | {
"answer_start": [
471
],
"text": [
"CPU time"
]
} |
570634ea75f01819005e7a9a | MP3 | Encoder / decoder overall delay is not defined, which means there is no official provision for gapless playback. However, some encoders such as LAME can attach additional metadata that will allow players that can handle it to deliver seamless playback. | What is there no official provision for? | {
"answer_start": [
95
],
"text": [
"gapless playback"
]
} |
570634ea75f01819005e7a9b | MP3 | Encoder / decoder overall delay is not defined, which means there is no official provision for gapless playback. However, some encoders such as LAME can attach additional metadata that will allow players that can handle it to deliver seamless playback. | What is an example of an encoder that can attach additional metadeta? | {
"answer_start": [
144
],
"text": [
"LAME"
]
} |
570634ea75f01819005e7a9c | MP3 | Encoder / decoder overall delay is not defined, which means there is no official provision for gapless playback. However, some encoders such as LAME can attach additional metadata that will allow players that can handle it to deliver seamless playback. | Adding additional metadata allows players to handle gapless playback and deliver what? | {
"answer_start": [
234
],
"text": [
"seamless playback"
]
} |
570634ea75f01819005e7a9d | MP3 | Encoder / decoder overall delay is not defined, which means there is no official provision for gapless playback. However, some encoders such as LAME can attach additional metadata that will allow players that can handle it to deliver seamless playback. | For encoders and decoders, what is not defined? | {
"answer_start": [
18
],
"text": [
"overall delay"
]
} |
5706371452bb89140068996e | MP3 | When performing lossy audio encoding, such as creating an MP3 file, there is a trade-off between the amount of space used and the sound quality of the result. Typically, the creator is allowed to set a bit rate, which specifies how many kilobits the file may use per second of audio. The higher the bit rate, the larger the compressed file will be, and, generally, the closer it will sound to the original file. | A typical trade off when creating an MP3 file is between the amount of space used and what other factor? | {
"answer_start": [
130
],
"text": [
"sound quality of the result"
]
} |
5706371452bb89140068996f | MP3 | When performing lossy audio encoding, such as creating an MP3 file, there is a trade-off between the amount of space used and the sound quality of the result. Typically, the creator is allowed to set a bit rate, which specifies how many kilobits the file may use per second of audio. The higher the bit rate, the larger the compressed file will be, and, generally, the closer it will sound to the original file. | What would an example of lossy audio encoding be? | {
"answer_start": [
46
],
"text": [
"creating an MP3 file"
]
} |
5706371452bb891400689970 | MP3 | When performing lossy audio encoding, such as creating an MP3 file, there is a trade-off between the amount of space used and the sound quality of the result. Typically, the creator is allowed to set a bit rate, which specifies how many kilobits the file may use per second of audio. The higher the bit rate, the larger the compressed file will be, and, generally, the closer it will sound to the original file. | Who gets to set the bit rate for an MP3 file? | {
"answer_start": [
170
],
"text": [
"the creator"
]
} |
5706371452bb891400689971 | MP3 | When performing lossy audio encoding, such as creating an MP3 file, there is a trade-off between the amount of space used and the sound quality of the result. Typically, the creator is allowed to set a bit rate, which specifies how many kilobits the file may use per second of audio. The higher the bit rate, the larger the compressed file will be, and, generally, the closer it will sound to the original file. | What does the bit rate of the file actually mean? | {
"answer_start": [
228
],
"text": [
"how many kilobits the file may use per second of audio"
]
} |
5706371452bb891400689972 | MP3 | When performing lossy audio encoding, such as creating an MP3 file, there is a trade-off between the amount of space used and the sound quality of the result. Typically, the creator is allowed to set a bit rate, which specifies how many kilobits the file may use per second of audio. The higher the bit rate, the larger the compressed file will be, and, generally, the closer it will sound to the original file. | If the bit rate is higher, the size of the compressed file will be what? | {
"answer_start": [
313
],
"text": [
"larger"
]
} |
570637be52bb891400689978 | MP3 | With too low a bit rate, compression artifacts (i.e., sounds that were not present in the original recording) may be audible in the reproduction. Some audio is hard to compress because of its randomness and sharp attacks. When this type of audio is compressed, artifacts such as ringing or pre-echo are usually heard. A sample of applause compressed with a relatively low bit rate provides a good example of compression artifacts. | If the bit rate is too low, what might be audible in the reproduction? | {
"answer_start": [
25
],
"text": [
"compression artifacts"
]
} |
570637be52bb891400689979 | MP3 | With too low a bit rate, compression artifacts (i.e., sounds that were not present in the original recording) may be audible in the reproduction. Some audio is hard to compress because of its randomness and sharp attacks. When this type of audio is compressed, artifacts such as ringing or pre-echo are usually heard. A sample of applause compressed with a relatively low bit rate provides a good example of compression artifacts. | Sounds that were not in the original recording are referred to as what? | {
"answer_start": [
25
],
"text": [
"compression artifacts"
]
} |
570637be52bb89140068997a | MP3 | With too low a bit rate, compression artifacts (i.e., sounds that were not present in the original recording) may be audible in the reproduction. Some audio is hard to compress because of its randomness and sharp attacks. When this type of audio is compressed, artifacts such as ringing or pre-echo are usually heard. A sample of applause compressed with a relatively low bit rate provides a good example of compression artifacts. | Randomness and sharp attacks are two reasons that may make it harder to to do what to an audio file? | {
"answer_start": [
168
],
"text": [
"compress"
]
} |
570637be52bb89140068997b | MP3 | With too low a bit rate, compression artifacts (i.e., sounds that were not present in the original recording) may be audible in the reproduction. Some audio is hard to compress because of its randomness and sharp attacks. When this type of audio is compressed, artifacts such as ringing or pre-echo are usually heard. A sample of applause compressed with a relatively low bit rate provides a good example of compression artifacts. | Other than pre - echo, what is another example of what can happen when audio is compressed? | {
"answer_start": [
279
],
"text": [
"ringing"
]
} |
570637be52bb89140068997c | MP3 | With too low a bit rate, compression artifacts (i.e., sounds that were not present in the original recording) may be audible in the reproduction. Some audio is hard to compress because of its randomness and sharp attacks. When this type of audio is compressed, artifacts such as ringing or pre-echo are usually heard. A sample of applause compressed with a relatively low bit rate provides a good example of compression artifacts. | What kind of sample can display a good example of compression artifacts? | {
"answer_start": [
318
],
"text": [
"A sample of applause"
]
} |
570638d652bb891400689982 | MP3 | Besides the bit rate of an encoded piece of audio, the quality of MP3 files also depends on the quality of the encoder itself, and the difficulty of the signal being encoded. As the MP3 standard allows quite a bit of freedom with encoding algorithms, different encoders may feature quite different quality, even with identical bit rates. As an example, in a public listening test featuring two different MP3 encoders at about 128 kbit/s, one scored 3.66 on a 1–5 scale, while the other scored only 2.22. | Other than the bit rate and the difficulty of the signal, what can also affect the quality of an MP3 file? | {
"answer_start": [
96
],
"text": [
"quality of the encoder"
]
} |
570638d652bb891400689983 | MP3 | Besides the bit rate of an encoded piece of audio, the quality of MP3 files also depends on the quality of the encoder itself, and the difficulty of the signal being encoded. As the MP3 standard allows quite a bit of freedom with encoding algorithms, different encoders may feature quite different quality, even with identical bit rates. As an example, in a public listening test featuring two different MP3 encoders at about 128 kbit/s, one scored 3.66 on a 1–5 scale, while the other scored only 2.22. | The MP3 standard allows encoders to have a lot of freedom with which aspect of encoding? | {
"answer_start": [
230
],
"text": [
"encoding algorithms"
]
} |
570638d652bb891400689984 | MP3 | Besides the bit rate of an encoded piece of audio, the quality of MP3 files also depends on the quality of the encoder itself, and the difficulty of the signal being encoded. As the MP3 standard allows quite a bit of freedom with encoding algorithms, different encoders may feature quite different quality, even with identical bit rates. As an example, in a public listening test featuring two different MP3 encoders at about 128 kbit/s, one scored 3.66 on a 1–5 scale, while the other scored only 2.22. | As a result of the freedom, different encoders can result in different quality even if which aspect of the file is the same? | {
"answer_start": [
327
],
"text": [
"bit rates"
]
} |
570638d652bb891400689985 | MP3 | Besides the bit rate of an encoded piece of audio, the quality of MP3 files also depends on the quality of the encoder itself, and the difficulty of the signal being encoded. As the MP3 standard allows quite a bit of freedom with encoding algorithms, different encoders may feature quite different quality, even with identical bit rates. As an example, in a public listening test featuring two different MP3 encoders at about 128 kbit/s, one scored 3.66 on a 1–5 scale, while the other scored only 2.22. | An example shown has a low range quality score of what value? | {
"answer_start": [
498
],
"text": [
"2.22"
]
} |
570638d652bb891400689986 | MP3 | Besides the bit rate of an encoded piece of audio, the quality of MP3 files also depends on the quality of the encoder itself, and the difficulty of the signal being encoded. As the MP3 standard allows quite a bit of freedom with encoding algorithms, different encoders may feature quite different quality, even with identical bit rates. As an example, in a public listening test featuring two different MP3 encoders at about 128 kbit/s, one scored 3.66 on a 1–5 scale, while the other scored only 2.22. | To compare qualities, sound files are evaluated on a scale that ranges from 1 to what? | {
"answer_start": [
461
],
"text": [
"5"
]
} |
57063bc552bb891400689996 | MP3 | The simplest type of MP3 file uses one bit rate for the entire file: this is known as Constant Bit Rate (CBR) encoding. Using a constant bit rate makes encoding simpler and faster. However, it is also possible to create files where the bit rate changes throughout the file. These are known as Variable Bit Rate (VBR) files. The idea behind this is that, in any piece of audio, some parts will be much easier to compress, such as silence or music containing only a few instruments, while others will be more difficult to compress. So, the overall quality of the file may be increased by using a lower bit rate for the less complex passages and a higher one for the more complex parts. With some encoders, it is possible to specify a given quality, and the encoder will vary the bit rate accordingly. Users who know a particular "quality setting" that is transparent to their ears can use this value when encoding all of their music, and generally speaking not need to worry about performing personal listening tests on each piece of music to determine the correct bit rate. | How many bit rates does the simplest type of MP3 file use? | {
"answer_start": [
35
],
"text": [
"one"
]
} |
57063bc552bb891400689997 | MP3 | The simplest type of MP3 file uses one bit rate for the entire file: this is known as Constant Bit Rate (CBR) encoding. Using a constant bit rate makes encoding simpler and faster. However, it is also possible to create files where the bit rate changes throughout the file. These are known as Variable Bit Rate (VBR) files. The idea behind this is that, in any piece of audio, some parts will be much easier to compress, such as silence or music containing only a few instruments, while others will be more difficult to compress. So, the overall quality of the file may be increased by using a lower bit rate for the less complex passages and a higher one for the more complex parts. With some encoders, it is possible to specify a given quality, and the encoder will vary the bit rate accordingly. Users who know a particular "quality setting" that is transparent to their ears can use this value when encoding all of their music, and generally speaking not need to worry about performing personal listening tests on each piece of music to determine the correct bit rate. | What does CBR stand for? | {
"answer_start": [
86
],
"text": [
"Constant Bit Rate"
]
} |
57063bc552bb891400689998 | MP3 | The simplest type of MP3 file uses one bit rate for the entire file: this is known as Constant Bit Rate (CBR) encoding. Using a constant bit rate makes encoding simpler and faster. However, it is also possible to create files where the bit rate changes throughout the file. These are known as Variable Bit Rate (VBR) files. The idea behind this is that, in any piece of audio, some parts will be much easier to compress, such as silence or music containing only a few instruments, while others will be more difficult to compress. So, the overall quality of the file may be increased by using a lower bit rate for the less complex passages and a higher one for the more complex parts. With some encoders, it is possible to specify a given quality, and the encoder will vary the bit rate accordingly. Users who know a particular "quality setting" that is transparent to their ears can use this value when encoding all of their music, and generally speaking not need to worry about performing personal listening tests on each piece of music to determine the correct bit rate. | What does VBR stand for? | {
"answer_start": [
293
],
"text": [
"Variable Bit Rate"
]
} |
57063bc552bb891400689999 | MP3 | The simplest type of MP3 file uses one bit rate for the entire file: this is known as Constant Bit Rate (CBR) encoding. Using a constant bit rate makes encoding simpler and faster. However, it is also possible to create files where the bit rate changes throughout the file. These are known as Variable Bit Rate (VBR) files. The idea behind this is that, in any piece of audio, some parts will be much easier to compress, such as silence or music containing only a few instruments, while others will be more difficult to compress. So, the overall quality of the file may be increased by using a lower bit rate for the less complex passages and a higher one for the more complex parts. With some encoders, it is possible to specify a given quality, and the encoder will vary the bit rate accordingly. Users who know a particular "quality setting" that is transparent to their ears can use this value when encoding all of their music, and generally speaking not need to worry about performing personal listening tests on each piece of music to determine the correct bit rate. | Aside from silence, which sections of music highlight parts that are easier to compress? | {
"answer_start": [
440
],
"text": [
"music containing only a few instruments"
]
} |
57063bc552bb89140068999a | MP3 | The simplest type of MP3 file uses one bit rate for the entire file: this is known as Constant Bit Rate (CBR) encoding. Using a constant bit rate makes encoding simpler and faster. However, it is also possible to create files where the bit rate changes throughout the file. These are known as Variable Bit Rate (VBR) files. The idea behind this is that, in any piece of audio, some parts will be much easier to compress, such as silence or music containing only a few instruments, while others will be more difficult to compress. So, the overall quality of the file may be increased by using a lower bit rate for the less complex passages and a higher one for the more complex parts. With some encoders, it is possible to specify a given quality, and the encoder will vary the bit rate accordingly. Users who know a particular "quality setting" that is transparent to their ears can use this value when encoding all of their music, and generally speaking not need to worry about performing personal listening tests on each piece of music to determine the correct bit rate. | What value do users need to know when encoding their music to help avoid them having to do tests on each piece of music? | {
"answer_start": [
828
],
"text": [
"quality setting"
]
} |
57063c3e75f01819005e7aac | MP3 | Perceived quality can be influenced by listening environment (ambient noise), listener attention, and listener training and in most cases by listener audio equipment (such as sound cards, speakers and headphones). | A listening environment is also know by which term? | {
"answer_start": [
62
],
"text": [
"ambient noise"
]
} |
57063c3e75f01819005e7aad | MP3 | Perceived quality can be influenced by listening environment (ambient noise), listener attention, and listener training and in most cases by listener audio equipment (such as sound cards, speakers and headphones). | Other than speakers and headphones, what other piece of equipment affects the listener's perceived quality? | {
"answer_start": [
175
],
"text": [
"sound cards"
]
} |
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