Question: What has caused the mortality rate to decrease?

Answer: due to better recognition and improvement in care

The prognosis for asthma is generally good, especially for children with mild disease. <hl> Mortality has decreased over the last few decades due to better recognition and improvement in care . <hl> Globally it causes moderate or severe disability in 19.4 million people as of 2004 (16 million of which are in low and middle income countries). Of asthma diagnosed during childhood, half of cases will no longer carry the diagnosis after a decade. Airway remodeling is observed, but it is unknown whether these represent harmful or beneficial changes. Early treatment with corticosteroids seems to prevent or ameliorates a decline in lung function.

The prognosis for asthma is generally good, especially for children with mild disease. Mortality has decreased over the last few decades <hl> due to better recognition and improvement in care <hl>. Globally it causes moderate or severe disability in 19.4 million people as of 2004 (16 million of which are in low and middle income countries). Of asthma diagnosed during childhood, half of cases will no longer carry the diagnosis after a decade. Airway remodeling is observed, but it is unknown whether these represent harmful or beneficial changes. Early treatment with corticosteroids seems to prevent or ameliorates a decline in lung function.

Mortality has decreased over the last few decades <hl> due to better recognition and improvement in care <hl> .


Question: Worldwide, how many people suffer from asthma?

The prognosis for asthma is generally good, especially for children with mild disease. Mortality has decreased over the last few decades due to better recognition and improvement in care. Globally it causes moderate or severe disability in 19.4 million people as of 2004 (16 million of which are in low and middle income countries). Of asthma diagnosed during childhood, half of cases will no longer carry the diagnosis after a decade. Airway remodeling is observed, but it is unknown whether these represent harmful or beneficial changes. Early treatment with corticosteroids seems to prevent or ameliorates a decline in lung function.

Answer: 19.4 million people as of 2004

The prognosis for asthma is generally good, especially for children with mild disease. Mortality has decreased over the last few decades due to better recognition and improvement in care. <hl> Globally it causes moderate or severe disability in 19.4 million people as of 2004 (16 million of which are in low and middle income countries). <hl> Of asthma diagnosed during childhood, half of cases will no longer carry the diagnosis after a decade. Airway remodeling is observed, but it is unknown whether these represent harmful or beneficial changes. Early treatment with corticosteroids seems to prevent or ameliorates a decline in lung function.

The prognosis for asthma is generally good, especially for children with mild disease. Mortality has decreased over the last few decades due to better recognition and improvement in care. Globally it causes moderate or severe disability in <hl> 19.4 million people as of 2004 <hl> (16 million of which are in low and middle income countries). Of asthma diagnosed during childhood, half of cases will no longer carry the diagnosis after a decade. Airway remodeling is observed, but it is unknown whether these represent harmful or beneficial changes. Early treatment with corticosteroids seems to prevent or ameliorates a decline in lung function.


Question: How many cases that are diagnosed in childhood make it past 10 years with asthma?

Answer: half of cases will no longer carry the diagnosis after a decade

The prognosis for asthma is generally good, especially for children with mild disease. Mortality has decreased over the last few decades due to better recognition and improvement in care. Globally it causes moderate or severe disability in 19.4 million people as of 2004 (16 million of which are in low and middle income countries). <hl> Of asthma diagnosed during childhood, half of cases will no longer carry the diagnosis after a decade . <hl> Airway remodeling is observed, but it is unknown whether these represent harmful or beneficial changes. Early treatment with corticosteroids seems to prevent or ameliorates a decline in lung function.

The prognosis for asthma is generally good, especially for children with mild disease. Mortality has decreased over the last few decades due to better recognition and improvement in care. Globally it causes moderate or severe disability in 19.4 million people as of 2004 (16 million of which are in low and middle income countries). Of asthma diagnosed during childhood, <hl> half of cases will no longer carry the diagnosis after a decade <hl>. Airway remodeling is observed, but it is unknown whether these represent harmful or beneficial changes. Early treatment with corticosteroids seems to prevent or ameliorates a decline in lung function.

Of asthma diagnosed during childhood, <hl> half of cases will no longer carry the diagnosis after a decade <hl> .


Question: By 2011, how many people were affected by asthma?

As of 2011, 235–330 million people worldwide are affected by asthma, and approximately 250,000–345,000 people die per year from the disease. Rates vary between countries with prevalences between 1 and 18%. It is more common in developed than developing countries. One thus sees lower rates in Asia, Eastern Europe and Africa. Within developed countries it is more common in those who are economically disadvantaged while in contrast in developing countries it is more common in the affluent. The reason for these differences is not well known. Low and middle income countries make up more than 80% of the mortality.

Answer: 235–330 million people worldwide are affected by asthma

<hl> As of 2011, 235–330 million people worldwide are affected by asthma , and approximately 250,000–345,000 people die per year from the disease. <hl> Rates vary between countries with prevalences between 1 and 18%. It is more common in developed than developing countries. One thus sees lower rates in Asia, Eastern Europe and Africa. Within developed countries it is more common in those who are economically disadvantaged while in contrast in developing countries it is more common in the affluent. The reason for these differences is not well known. Low and middle income countries make up more than 80% of the mortality.

As of 2011, <hl> 235–330 million people worldwide are affected by asthma <hl>, and approximately 250,000–345,000 people die per year from the disease. Rates vary between countries with prevalences between 1 and 18%. It is more common in developed than developing countries. One thus sees lower rates in Asia, Eastern Europe and Africa. Within developed countries it is more common in those who are economically disadvantaged while in contrast in developing countries it is more common in the affluent. The reason for these differences is not well known. Low and middle income countries make up more than 80% of the mortality.

As of 2011, <hl> 235–330 million people worldwide are affected by asthma <hl> , and approximately 250,000–345,000 people die per year from the disease.


Question: How many people die per year from asthma?

Answer: 250,000–345,000 people

<hl> As of 2011, 235–330 million people worldwide are affected by asthma, and approximately 250,000–345,000 people die per year from the disease. <hl> Rates vary between countries with prevalences between 1 and 18%. It is more common in developed than developing countries. One thus sees lower rates in Asia, Eastern Europe and Africa. Within developed countries it is more common in those who are economically disadvantaged while in contrast in developing countries it is more common in the affluent. The reason for these differences is not well known. Low and middle income countries make up more than 80% of the mortality.

As of 2011, 235–330 million people worldwide are affected by asthma, and approximately <hl> 250,000–345,000 people <hl> die per year from the disease. Rates vary between countries with prevalences between 1 and 18%. It is more common in developed than developing countries. One thus sees lower rates in Asia, Eastern Europe and Africa. Within developed countries it is more common in those who are economically disadvantaged while in contrast in developing countries it is more common in the affluent. The reason for these differences is not well known. Low and middle income countries make up more than 80% of the mortality.


Question: What countries is asthma more commonly seen?

Answer: It is more common in developed than developing countries

As of 2011, 235–330 million people worldwide are affected by asthma, and approximately 250,000–345,000 people die per year from the disease. Rates vary between countries with prevalences between 1 and 18%. <hl> It is more common in developed than developing countries . <hl> One thus sees lower rates in Asia, Eastern Europe and Africa. Within developed countries it is more common in those who are economically disadvantaged while in contrast in developing countries it is more common in the affluent. The reason for these differences is not well known. Low and middle income countries make up more than 80% of the mortality.

As of 2011, 235–330 million people worldwide are affected by asthma, and approximately 250,000–345,000 people die per year from the disease. Rates vary between countries with prevalences between 1 and 18%. <hl> It is more common in developed than developing countries <hl>. One thus sees lower rates in Asia, Eastern Europe and Africa. Within developed countries it is more common in those who are economically disadvantaged while in contrast in developing countries it is more common in the affluent. The reason for these differences is not well known. Low and middle income countries make up more than 80% of the mortality.

<hl> It is more common in developed than developing countries <hl> .


Question: Why are different countries effected differently?

Answer: The reason for these differences is not well known

As of 2011, 235–330 million people worldwide are affected by asthma, and approximately 250,000–345,000 people die per year from the disease. Rates vary between countries with prevalences between 1 and 18%. It is more common in developed than developing countries. One thus sees lower rates in Asia, Eastern Europe and Africa. Within developed countries it is more common in those who are economically disadvantaged while in contrast in developing countries it is more common in the affluent. <hl> The reason for these differences is not well known . <hl> Low and middle income countries make up more than 80% of the mortality.

As of 2011, 235–330 million people worldwide are affected by asthma, and approximately 250,000–345,000 people die per year from the disease. Rates vary between countries with prevalences between 1 and 18%. It is more common in developed than developing countries. One thus sees lower rates in Asia, Eastern Europe and Africa. Within developed countries it is more common in those who are economically disadvantaged while in contrast in developing countries it is more common in the affluent. <hl> The reason for these differences is not well known <hl>. Low and middle income countries make up more than 80% of the mortality.

<hl> The reason for these differences is not well known <hl> .


Question: How much was the average cost of hospital stays for asthma-related issues for children??

From 2000 to 2010, the average cost per asthma-related hospital stay in the United States for children remained relatively stable at about $3,600, whereas the average cost per asthma-related hospital stay for adults increased from $5,200 to $6,600. In 2010, Medicaid was the most frequent primary payer among children and adults aged 18–44 years in the United States; private insurance was the second most frequent payer. Among both children and adults in the lowest income communities in the United States there is a higher rates of hospital stays for asthma in 2010 than those in the highest income communities.

Answer: about $3,600

<hl> From 2000 to 2010, the average cost per asthma-related hospital stay in the United States for children remained relatively stable at about $3,600 , whereas the average cost per asthma-related hospital stay for adults increased from $5,200 to $6,600. <hl> In 2010, Medicaid was the most frequent primary payer among children and adults aged 18–44 years in the United States; private insurance was the second most frequent payer. Among both children and adults in the lowest income communities in the United States there is a higher rates of hospital stays for asthma in 2010 than those in the highest income communities.

From 2000 to 2010, the average cost per asthma-related hospital stay in the United States for children remained relatively stable at <hl> about $3,600 <hl>, whereas the average cost per asthma-related hospital stay for adults increased from $5,200 to $6,600. In 2010, Medicaid was the most frequent primary payer among children and adults aged 18–44 years in the United States; private insurance was the second most frequent payer. Among both children and adults in the lowest income communities in the United States there is a higher rates of hospital stays for asthma in 2010 than those in the highest income communities.

From 2000 to 2010, the average cost per asthma-related hospital stay in the United States for children remained relatively stable at <hl> about $3,600 <hl> , whereas the average cost per asthma-related hospital stay for adults increased from $5,200 to $6,600.


Question: How much was the average cost of hospital stays for asthma-related issues for adults?

Answer: from $5,200 to $6,600

<hl> From 2000 to 2010, the average cost per asthma-related hospital stay in the United States for children remained relatively stable at about $3,600, whereas the average cost per asthma-related hospital stay for adults increased from $5,200 to $6,600 . <hl> In 2010, Medicaid was the most frequent primary payer among children and adults aged 18–44 years in the United States; private insurance was the second most frequent payer. Among both children and adults in the lowest income communities in the United States there is a higher rates of hospital stays for asthma in 2010 than those in the highest income communities.

From 2000 to 2010, the average cost per asthma-related hospital stay in the United States for children remained relatively stable at about $3,600, whereas the average cost per asthma-related hospital stay for adults increased <hl> from $5,200 to $6,600 <hl>. In 2010, Medicaid was the most frequent primary payer among children and adults aged 18–44 years in the United States; private insurance was the second most frequent payer. Among both children and adults in the lowest income communities in the United States there is a higher rates of hospital stays for asthma in 2010 than those in the highest income communities.

From 2000 to 2010, the average cost per asthma-related hospital stay in the United States for children remained relatively stable at about $3,600, whereas the average cost per asthma-related hospital stay for adults increased <hl> from $5,200 to $6,600 <hl> .


Question: Who was the most frequent primary payer amount children and adults?

Answer: Medicaid

From 2000 to 2010, the average cost per asthma-related hospital stay in the United States for children remained relatively stable at about $3,600, whereas the average cost per asthma-related hospital stay for adults increased from $5,200 to $6,600. <hl> In 2010, Medicaid was the most frequent primary payer among children and adults aged 18–44 years in the United States; private insurance was the second most frequent payer. <hl> Among both children and adults in the lowest income communities in the United States there is a higher rates of hospital stays for asthma in 2010 than those in the highest income communities.

From 2000 to 2010, the average cost per asthma-related hospital stay in the United States for children remained relatively stable at about $3,600, whereas the average cost per asthma-related hospital stay for adults increased from $5,200 to $6,600. In 2010, <hl> Medicaid <hl> was the most frequent primary payer among children and adults aged 18–44 years in the United States; private insurance was the second most frequent payer. Among both children and adults in the lowest income communities in the United States there is a higher rates of hospital stays for asthma in 2010 than those in the highest income communities.


Question: Who was more likely to seek hospital help in the US for asthma reasons?

Answer: the lowest income communities

From 2000 to 2010, the average cost per asthma-related hospital stay in the United States for children remained relatively stable at about $3,600, whereas the average cost per asthma-related hospital stay for adults increased from $5,200 to $6,600. In 2010, Medicaid was the most frequent primary payer among children and adults aged 18–44 years in the United States; private insurance was the second most frequent payer. <hl> Among both children and adults in the lowest income communities in the United States there is a higher rates of hospital stays for asthma in 2010 than those in the highest income communities. <hl>

From 2000 to 2010, the average cost per asthma-related hospital stay in the United States for children remained relatively stable at about $3,600, whereas the average cost per asthma-related hospital stay for adults increased from $5,200 to $6,600. In 2010, Medicaid was the most frequent primary payer among children and adults aged 18–44 years in the United States; private insurance was the second most frequent payer. Among both children and adults in <hl> the lowest income communities <hl> in the United States there is a higher rates of hospital stays for asthma in 2010 than those in the highest income communities.


Question: When was the first paper written about asthma?

In 1873, one of the first papers in modern medicine on the subject tried to explain the pathophysiology of the disease while one in 1872, concluded that asthma can be cured by rubbing the chest with chloroform liniment. Medical treatment in 1880, included the use of intravenous doses of a drug called pilocarpin. In 1886, F.H. Bosworth theorized a connection between asthma and hay fever. Epinephrine was first referred to in the treatment of asthma in 1905. Oral corticosteroids began to be used for this condition in the 1950s while inhaled corticosteroids and selective short acting beta agonist came into wide use in the 1960s.

Answer: In 1873

<hl> In 1873 , one of the first papers in modern medicine on the subject tried to explain the pathophysiology of the disease while one in 1872, concluded that asthma can be cured by rubbing the chest with chloroform liniment. <hl> Medical treatment in 1880, included the use of intravenous doses of a drug called pilocarpin. In 1886, F.H. Bosworth theorized a connection between asthma and hay fever. Epinephrine was first referred to in the treatment of asthma in 1905. Oral corticosteroids began to be used for this condition in the 1950s while inhaled corticosteroids and selective short acting beta agonist came into wide use in the 1960s.

<hl> In 1873 <hl>, one of the first papers in modern medicine on the subject tried to explain the pathophysiology of the disease while one in 1872, concluded that asthma can be cured by rubbing the chest with chloroform liniment. Medical treatment in 1880, included the use of intravenous doses of a drug called pilocarpin. In 1886, F.H. Bosworth theorized a connection between asthma and hay fever. Epinephrine was first referred to in the treatment of asthma in 1905. Oral corticosteroids began to be used for this condition in the 1950s while inhaled corticosteroids and selective short acting beta agonist came into wide use in the 1960s.

<hl> In 1873 <hl> , one of the first papers in modern medicine on the subject tried to explain the pathophysiology of the disease while one in 1872, concluded that asthma can be cured by rubbing the chest with chloroform liniment.


Question: What was first used as a cure for asthma?

Answer: by rubbing the chest with chloroform liniment

<hl> In 1873, one of the first papers in modern medicine on the subject tried to explain the pathophysiology of the disease while one in 1872, concluded that asthma can be cured by rubbing the chest with chloroform liniment . <hl> Medical treatment in 1880, included the use of intravenous doses of a drug called pilocarpin. In 1886, F.H. Bosworth theorized a connection between asthma and hay fever. Epinephrine was first referred to in the treatment of asthma in 1905. Oral corticosteroids began to be used for this condition in the 1950s while inhaled corticosteroids and selective short acting beta agonist came into wide use in the 1960s.

In 1873, one of the first papers in modern medicine on the subject tried to explain the pathophysiology of the disease while one in 1872, concluded that asthma can be cured <hl> by rubbing the chest with chloroform liniment <hl>. Medical treatment in 1880, included the use of intravenous doses of a drug called pilocarpin. In 1886, F.H. Bosworth theorized a connection between asthma and hay fever. Epinephrine was first referred to in the treatment of asthma in 1905. Oral corticosteroids began to be used for this condition in the 1950s while inhaled corticosteroids and selective short acting beta agonist came into wide use in the 1960s.

In 1873, one of the first papers in modern medicine on the subject tried to explain the pathophysiology of the disease while one in 1872, concluded that asthma can be cured <hl> by rubbing the chest with chloroform liniment <hl> .


Question: In 1880 what was used intraveniously for asthma?

Answer: pilocarpin

In 1873, one of the first papers in modern medicine on the subject tried to explain the pathophysiology of the disease while one in 1872, concluded that asthma can be cured by rubbing the chest with chloroform liniment. <hl> Medical treatment in 1880, included the use of intravenous doses of a drug called pilocarpin . <hl> In 1886, F.H. Bosworth theorized a connection between asthma and hay fever. Epinephrine was first referred to in the treatment of asthma in 1905. Oral corticosteroids began to be used for this condition in the 1950s while inhaled corticosteroids and selective short acting beta agonist came into wide use in the 1960s.

In 1873, one of the first papers in modern medicine on the subject tried to explain the pathophysiology of the disease while one in 1872, concluded that asthma can be cured by rubbing the chest with chloroform liniment. Medical treatment in 1880, included the use of intravenous doses of a drug called <hl> pilocarpin <hl>. In 1886, F.H. Bosworth theorized a connection between asthma and hay fever. Epinephrine was first referred to in the treatment of asthma in 1905. Oral corticosteroids began to be used for this condition in the 1950s while inhaled corticosteroids and selective short acting beta agonist came into wide use in the 1960s.

Medical treatment in 1880, included the use of intravenous doses of a drug called <hl> pilocarpin <hl> .


Question: When did inhaled corticosteroids and short acting beta agonist start being used?

Answer: in the 1960s

In 1873, one of the first papers in modern medicine on the subject tried to explain the pathophysiology of the disease while one in 1872, concluded that asthma can be cured by rubbing the chest with chloroform liniment. Medical treatment in 1880, included the use of intravenous doses of a drug called pilocarpin. In 1886, F.H. Bosworth theorized a connection between asthma and hay fever. Epinephrine was first referred to in the treatment of asthma in 1905. <hl> Oral corticosteroids began to be used for this condition in the 1950s while inhaled corticosteroids and selective short acting beta agonist came into wide use in the 1960s . <hl>

In 1873, one of the first papers in modern medicine on the subject tried to explain the pathophysiology of the disease while one in 1872, concluded that asthma can be cured by rubbing the chest with chloroform liniment. Medical treatment in 1880, included the use of intravenous doses of a drug called pilocarpin. In 1886, F.H. Bosworth theorized a connection between asthma and hay fever. Epinephrine was first referred to in the treatment of asthma in 1905. Oral corticosteroids began to be used for this condition in the 1950s while inhaled corticosteroids and selective short acting beta agonist came into wide use <hl> in the 1960s <hl>.

Oral corticosteroids began to be used for this condition in the 1950s while inhaled corticosteroids and selective short acting beta agonist came into wide use <hl> in the 1960s <hl> .


Question: Did LaserDisks offer higher or lower quality sound and picture than VHS?

Although the format was capable of offering higher-quality video and audio than its consumer rivals, the VHS and Betamax videocassette systems, LaserDisc never managed to gain widespread use in North America, largely due to high costs for the players and video titles themselves and the inability to record TV programming. It also remained a largely obscure format in Europe and Australia. By contrast, the format was much more popular in Japan and in the more affluent regions of Southeast Asia, such as Hong Kong, Singapore, and Malaysia, being the prevalent rental video medium in Hong Kong during the 1990s. Its superior video and audio quality did make it a somewhat popular choice among videophiles and film enthusiasts during its lifespan.

Answer: higher-quality

<hl> Although the format was capable of offering higher-quality video and audio than its consumer rivals, the VHS and Betamax videocassette systems, LaserDisc never managed to gain widespread use in North America, largely due to high costs for the players and video titles themselves and the inability to record TV programming. <hl> It also remained a largely obscure format in Europe and Australia. By contrast, the format was much more popular in Japan and in the more affluent regions of Southeast Asia, such as Hong Kong, Singapore, and Malaysia, being the prevalent rental video medium in Hong Kong during the 1990s. Its superior video and audio quality did make it a somewhat popular choice among videophiles and film enthusiasts during its lifespan.

Although the format was capable of offering <hl> higher-quality <hl> video and audio than its consumer rivals, the VHS and Betamax videocassette systems, LaserDisc never managed to gain widespread use in North America, largely due to high costs for the players and video titles themselves and the inability to record TV programming. It also remained a largely obscure format in Europe and Australia. By contrast, the format was much more popular in Japan and in the more affluent regions of Southeast Asia, such as Hong Kong, Singapore, and Malaysia, being the prevalent rental video medium in Hong Kong during the 1990s. Its superior video and audio quality did make it a somewhat popular choice among videophiles and film enthusiasts during its lifespan.


Question: Why didn't LaserDisk gain popularity in North America?

Answer: high costs for the players and video titles themselves and the inability to record TV programming

<hl> Although the format was capable of offering higher-quality video and audio than its consumer rivals, the VHS and Betamax videocassette systems, LaserDisc never managed to gain widespread use in North America, largely due to high costs for the players and video titles themselves and the inability to record TV programming . <hl> It also remained a largely obscure format in Europe and Australia. By contrast, the format was much more popular in Japan and in the more affluent regions of Southeast Asia, such as Hong Kong, Singapore, and Malaysia, being the prevalent rental video medium in Hong Kong during the 1990s. Its superior video and audio quality did make it a somewhat popular choice among videophiles and film enthusiasts during its lifespan.

Although the format was capable of offering higher-quality video and audio than its consumer rivals, the VHS and Betamax videocassette systems, LaserDisc never managed to gain widespread use in North America, largely due to <hl> high costs for the players and video titles themselves and the inability to record TV programming <hl>. It also remained a largely obscure format in Europe and Australia. By contrast, the format was much more popular in Japan and in the more affluent regions of Southeast Asia, such as Hong Kong, Singapore, and Malaysia, being the prevalent rental video medium in Hong Kong during the 1990s. Its superior video and audio quality did make it a somewhat popular choice among videophiles and film enthusiasts during its lifespan.

Although the format was capable of offering higher-quality video and audio than its consumer rivals, the VHS and Betamax videocassette systems, LaserDisc never managed to gain widespread use in North America, largely due to <hl> high costs for the players and video titles themselves and the inability to record TV programming <hl> .


Question: With whom was LaserDisk a popular choice for it's picture and sound quality?

Answer: videophiles and film enthusiasts

Although the format was capable of offering higher-quality video and audio than its consumer rivals, the VHS and Betamax videocassette systems, LaserDisc never managed to gain widespread use in North America, largely due to high costs for the players and video titles themselves and the inability to record TV programming. It also remained a largely obscure format in Europe and Australia. By contrast, the format was much more popular in Japan and in the more affluent regions of Southeast Asia, such as Hong Kong, Singapore, and Malaysia, being the prevalent rental video medium in Hong Kong during the 1990s. <hl> Its superior video and audio quality did make it a somewhat popular choice among videophiles and film enthusiasts during its lifespan. <hl>

Although the format was capable of offering higher-quality video and audio than its consumer rivals, the VHS and Betamax videocassette systems, LaserDisc never managed to gain widespread use in North America, largely due to high costs for the players and video titles themselves and the inability to record TV programming. It also remained a largely obscure format in Europe and Australia. By contrast, the format was much more popular in Japan and in the more affluent regions of Southeast Asia, such as Hong Kong, Singapore, and Malaysia, being the prevalent rental video medium in Hong Kong during the 1990s. Its superior video and audio quality did make it a somewhat popular choice among <hl> videophiles and film enthusiasts <hl> during its lifespan.


Question: In what city was LaserDisk used as a popular rental medium in the 1990s?

Answer: Hong Kong

Although the format was capable of offering higher-quality video and audio than its consumer rivals, the VHS and Betamax videocassette systems, LaserDisc never managed to gain widespread use in North America, largely due to high costs for the players and video titles themselves and the inability to record TV programming. It also remained a largely obscure format in Europe and Australia. <hl> By contrast, the format was much more popular in Japan and in the more affluent regions of Southeast Asia, such as Hong Kong , Singapore, and Malaysia, being the prevalent rental video medium in Hong Kong during the 1990s. <hl> Its superior video and audio quality did make it a somewhat popular choice among videophiles and film enthusiasts during its lifespan.

Although the format was capable of offering higher-quality video and audio than its consumer rivals, the VHS and Betamax videocassette systems, LaserDisc never managed to gain widespread use in North America, largely due to high costs for the players and video titles themselves and the inability to record TV programming. It also remained a largely obscure format in Europe and Australia. By contrast, the format was much more popular in Japan and in the more affluent regions of Southeast Asia, such as <hl> Hong Kong <hl>, Singapore, and Malaysia, being the prevalent rental video medium in Hong Kong during the 1990s. Its superior video and audio quality did make it a somewhat popular choice among videophiles and film enthusiasts during its lifespan.

By contrast, the format was much more popular in Japan and in the more affluent regions of Southeast Asia, such as <hl> Hong Kong <hl> , Singapore, and Malaysia, being the prevalent rental video medium in Hong Kong during the 1990s.


Question: Where was LaserDisc first available?

LaserDisc was first available on the market, in Atlanta, Georgia, on December 15, 1978, two years after the introduction of the VHS VCR, and four years before the introduction of the CD (which is based on laser disc technology). Initially licensed, sold, and marketed as MCA DiscoVision (also known as simply "DiscoVision") in North America in 1978, the technology was previously referred to internally as Optical Videodisc System, Reflective Optical Videodisc, Laser Optical Videodisc, and Disco-Vision (with a dash), with the first players referring to the format as "Video Long Play".

Answer: Atlanta, Georgia

<hl> LaserDisc was first available on the market, in Atlanta, Georgia , on December 15, 1978, two years after the introduction of the VHS VCR, and four years before the introduction of the CD (which is based on laser disc technology). <hl> Initially licensed, sold, and marketed as MCA DiscoVision (also known as simply "DiscoVision") in North America in 1978, the technology was previously referred to internally as Optical Videodisc System, Reflective Optical Videodisc, Laser Optical Videodisc, and Disco-Vision (with a dash), with the first players referring to the format as "Video Long Play".

LaserDisc was first available on the market, in <hl> Atlanta, Georgia <hl>, on December 15, 1978, two years after the introduction of the VHS VCR, and four years before the introduction of the CD (which is based on laser disc technology). Initially licensed, sold, and marketed as MCA DiscoVision (also known as simply "DiscoVision") in North America in 1978, the technology was previously referred to internally as Optical Videodisc System, Reflective Optical Videodisc, Laser Optical Videodisc, and Disco-Vision (with a dash), with the first players referring to the format as "Video Long Play".

LaserDisc was first available on the market, in <hl> Atlanta, Georgia <hl> , on December 15, 1978, two years after the introduction of the VHS VCR, and four years before the introduction of the CD (which is based on laser disc technology).


Question: How many years after VHS was LaserDisk released?

Answer: two years

<hl> LaserDisc was first available on the market, in Atlanta, Georgia, on December 15, 1978, two years after the introduction of the VHS VCR, and four years before the introduction of the CD (which is based on laser disc technology). <hl> Initially licensed, sold, and marketed as MCA DiscoVision (also known as simply "DiscoVision") in North America in 1978, the technology was previously referred to internally as Optical Videodisc System, Reflective Optical Videodisc, Laser Optical Videodisc, and Disco-Vision (with a dash), with the first players referring to the format as "Video Long Play".

LaserDisc was first available on the market, in Atlanta, Georgia, on December 15, 1978, <hl> two years <hl> after the introduction of the VHS VCR, and four years before the introduction of the CD (which is based on laser disc technology). Initially licensed, sold, and marketed as MCA DiscoVision (also known as simply "DiscoVision") in North America in 1978, the technology was previously referred to internally as Optical Videodisc System, Reflective Optical Videodisc, Laser Optical Videodisc, and Disco-Vision (with a dash), with the first players referring to the format as "Video Long Play".


Question: Under what name was LaserDisc originally marketed?

Answer: MCA DiscoVision

LaserDisc was first available on the market, in Atlanta, Georgia, on December 15, 1978, two years after the introduction of the VHS VCR, and four years before the introduction of the CD (which is based on laser disc technology). <hl> Initially licensed, sold, and marketed as MCA DiscoVision (also known as simply "DiscoVision") in North America in 1978, the technology was previously referred to internally as Optical Videodisc System, Reflective Optical Videodisc, Laser Optical Videodisc, and Disco-Vision (with a dash), with the first players referring to the format as "Video Long Play". <hl>

LaserDisc was first available on the market, in Atlanta, Georgia, on December 15, 1978, two years after the introduction of the VHS VCR, and four years before the introduction of the CD (which is based on laser disc technology). Initially licensed, sold, and marketed as <hl> MCA DiscoVision <hl> (also known as simply "DiscoVision") in North America in 1978, the technology was previously referred to internally as Optical Videodisc System, Reflective Optical Videodisc, Laser Optical Videodisc, and Disco-Vision (with a dash), with the first players referring to the format as "Video Long Play".


Question: How did the first viewers refer to the media?

Answer: "Video Long Play"

LaserDisc was first available on the market, in Atlanta, Georgia, on December 15, 1978, two years after the introduction of the VHS VCR, and four years before the introduction of the CD (which is based on laser disc technology). <hl> Initially licensed, sold, and marketed as MCA DiscoVision (also known as simply "DiscoVision") in North America in 1978, the technology was previously referred to internally as Optical Videodisc System, Reflective Optical Videodisc, Laser Optical Videodisc, and Disco-Vision (with a dash), with the first players referring to the format as "Video Long Play" . <hl>

LaserDisc was first available on the market, in Atlanta, Georgia, on December 15, 1978, two years after the introduction of the VHS VCR, and four years before the introduction of the CD (which is based on laser disc technology). Initially licensed, sold, and marketed as MCA DiscoVision (also known as simply "DiscoVision") in North America in 1978, the technology was previously referred to internally as Optical Videodisc System, Reflective Optical Videodisc, Laser Optical Videodisc, and Disco-Vision (with a dash), with the first players referring to the format as <hl> "Video Long Play" <hl>.

Initially licensed, sold, and marketed as MCA DiscoVision (also known as simply "DiscoVision") in North America in 1978, the technology was previously referred to internally as Optical Videodisc System, Reflective Optical Videodisc, Laser Optical Videodisc, and Disco-Vision (with a dash), with the first players referring to the format as <hl> "Video Long Play" <hl> .


Question: Who purchased the majority stake and re-marketed the product in 1980?

Pioneer Electronics later purchased the majority stake in the format and marketed it as both LaserVision (format name) and LaserDisc (brand name) in 1980, with some releases unofficially referring to the medium as "Laser Videodisc". Philips produced the players while MCA produced the discs. The Philips-MCA cooperation was not successful, and discontinued after a few years. Several of the scientists responsible for the early research (Richard Wilkinson, Ray Dakin and John Winslow) founded Optical Disc Corporation (now ODC Nimbus).

Answer: Pioneer Electronics

<hl> Pioneer Electronics later purchased the majority stake in the format and marketed it as both LaserVision (format name) and LaserDisc (brand name) in 1980, with some releases unofficially referring to the medium as "Laser Videodisc". <hl> Philips produced the players while MCA produced the discs. The Philips-MCA cooperation was not successful, and discontinued after a few years. Several of the scientists responsible for the early research (Richard Wilkinson, Ray Dakin and John Winslow) founded Optical Disc Corporation (now ODC Nimbus).

<hl> Pioneer Electronics <hl> later purchased the majority stake in the format and marketed it as both LaserVision (format name) and LaserDisc (brand name) in 1980, with some releases unofficially referring to the medium as "Laser Videodisc". Philips produced the players while MCA produced the discs. The Philips-MCA cooperation was not successful, and discontinued after a few years. Several of the scientists responsible for the early research (Richard Wilkinson, Ray Dakin and John Winslow) founded Optical Disc Corporation (now ODC Nimbus).


Question: Was Laserdisk officially or unofficially reffered to as "Laser Videodisc"?

Answer: unofficially

<hl> Pioneer Electronics later purchased the majority stake in the format and marketed it as both LaserVision (format name) and LaserDisc (brand name) in 1980, with some releases unofficially referring to the medium as "Laser Videodisc". <hl> Philips produced the players while MCA produced the discs. The Philips-MCA cooperation was not successful, and discontinued after a few years. Several of the scientists responsible for the early research (Richard Wilkinson, Ray Dakin and John Winslow) founded Optical Disc Corporation (now ODC Nimbus).

Pioneer Electronics later purchased the majority stake in the format and marketed it as both LaserVision (format name) and LaserDisc (brand name) in 1980, with some releases <hl> unofficially <hl> referring to the medium as "Laser Videodisc". Philips produced the players while MCA produced the discs. The Philips-MCA cooperation was not successful, and discontinued after a few years. Several of the scientists responsible for the early research (Richard Wilkinson, Ray Dakin and John Winslow) founded Optical Disc Corporation (now ODC Nimbus).


Question: Did MCA produce the disc or the players after being bought out?

Answer: discs

Pioneer Electronics later purchased the majority stake in the format and marketed it as both LaserVision (format name) and LaserDisc (brand name) in 1980, with some releases unofficially referring to the medium as "Laser Videodisc". <hl> Philips produced the players while MCA produced the discs . <hl> The Philips-MCA cooperation was not successful, and discontinued after a few years. Several of the scientists responsible for the early research (Richard Wilkinson, Ray Dakin and John Winslow) founded Optical Disc Corporation (now ODC Nimbus).

Pioneer Electronics later purchased the majority stake in the format and marketed it as both LaserVision (format name) and LaserDisc (brand name) in 1980, with some releases unofficially referring to the medium as "Laser Videodisc". Philips produced the players while MCA produced the <hl> discs <hl>. The Philips-MCA cooperation was not successful, and discontinued after a few years. Several of the scientists responsible for the early research (Richard Wilkinson, Ray Dakin and John Winslow) founded Optical Disc Corporation (now ODC Nimbus).

Philips produced the players while MCA produced the <hl> discs <hl> .


Question: Who were the scientists that worked on the early research for Laserdiscs?

Answer: Richard Wilkinson, Ray Dakin and John Winslow

Pioneer Electronics later purchased the majority stake in the format and marketed it as both LaserVision (format name) and LaserDisc (brand name) in 1980, with some releases unofficially referring to the medium as "Laser Videodisc". Philips produced the players while MCA produced the discs. The Philips-MCA cooperation was not successful, and discontinued after a few years. <hl> Several of the scientists responsible for the early research ( Richard Wilkinson, Ray Dakin and John Winslow ) founded Optical Disc Corporation (now ODC Nimbus). <hl>

Pioneer Electronics later purchased the majority stake in the format and marketed it as both LaserVision (format name) and LaserDisc (brand name) in 1980, with some releases unofficially referring to the medium as "Laser Videodisc". Philips produced the players while MCA produced the discs. The Philips-MCA cooperation was not successful, and discontinued after a few years. Several of the scientists responsible for the early research (<hl> Richard Wilkinson, Ray Dakin and John Winslow <hl>) founded Optical Disc Corporation (now ODC Nimbus).

Several of the scientists responsible for the early research ( <hl> Richard Wilkinson, Ray Dakin and John Winslow <hl> ) founded Optical Disc Corporation (now ODC Nimbus).


Question: What company did the early Laserdisc researchers later found?

Answer: Optical Disc Corporation (now ODC Nimbus)

Pioneer Electronics later purchased the majority stake in the format and marketed it as both LaserVision (format name) and LaserDisc (brand name) in 1980, with some releases unofficially referring to the medium as "Laser Videodisc". Philips produced the players while MCA produced the discs. The Philips-MCA cooperation was not successful, and discontinued after a few years. <hl> Several of the scientists responsible for the early research (Richard Wilkinson, Ray Dakin and John Winslow) founded Optical Disc Corporation (now ODC Nimbus) . <hl>

Pioneer Electronics later purchased the majority stake in the format and marketed it as both LaserVision (format name) and LaserDisc (brand name) in 1980, with some releases unofficially referring to the medium as "Laser Videodisc". Philips produced the players while MCA produced the discs. The Philips-MCA cooperation was not successful, and discontinued after a few years. Several of the scientists responsible for the early research (Richard Wilkinson, Ray Dakin and John Winslow) founded <hl> Optical Disc Corporation (now ODC Nimbus) <hl>.

Several of the scientists responsible for the early research (Richard Wilkinson, Ray Dakin and John Winslow) founded <hl> Optical Disc Corporation (now ODC Nimbus) <hl> .


Question: What product replaced LaserDisc in North America by the early 2000s?

By the early 2000s, LaserDisc was completely replaced by DVD in the North American retail marketplace, as neither players nor software were then produced. Players were still exported to North America from Japan until the end of 2001. The format has retained some popularity among American collectors, and to a greater degree in Japan, where the format was better supported and more prevalent during its life. In Europe, LaserDisc always remained an obscure format. It was chosen by the British Broadcasting Corporation (BBC) for the BBC Domesday Project in the mid-1980s, a school-based project to commemorate 900 years since the original Domesday Book in England. From 1991 up until the early 2000s, the BBC also used LaserDisc technology to play out the channel idents.

Answer: DVD

<hl> By the early 2000s, LaserDisc was completely replaced by DVD in the North American retail marketplace, as neither players nor software were then produced. <hl> Players were still exported to North America from Japan until the end of 2001. The format has retained some popularity among American collectors, and to a greater degree in Japan, where the format was better supported and more prevalent during its life. In Europe, LaserDisc always remained an obscure format. It was chosen by the British Broadcasting Corporation (BBC) for the BBC Domesday Project in the mid-1980s, a school-based project to commemorate 900 years since the original Domesday Book in England. From 1991 up until the early 2000s, the BBC also used LaserDisc technology to play out the channel idents.

By the early 2000s, LaserDisc was completely replaced by <hl> DVD <hl> in the North American retail marketplace, as neither players nor software were then produced. Players were still exported to North America from Japan until the end of 2001. The format has retained some popularity among American collectors, and to a greater degree in Japan, where the format was better supported and more prevalent during its life. In Europe, LaserDisc always remained an obscure format. It was chosen by the British Broadcasting Corporation (BBC) for the BBC Domesday Project in the mid-1980s, a school-based project to commemorate 900 years since the original Domesday Book in England. From 1991 up until the early 2000s, the BBC also used LaserDisc technology to play out the channel idents.


Question: Who chose LaserFisc for their Domesday Project in the mid-1980s?

Answer: British Broadcasting Corporation (BBC)

By the early 2000s, LaserDisc was completely replaced by DVD in the North American retail marketplace, as neither players nor software were then produced. Players were still exported to North America from Japan until the end of 2001. The format has retained some popularity among American collectors, and to a greater degree in Japan, where the format was better supported and more prevalent during its life. In Europe, LaserDisc always remained an obscure format. <hl> It was chosen by the British Broadcasting Corporation (BBC) for the BBC Domesday Project in the mid-1980s, a school-based project to commemorate 900 years since the original Domesday Book in England. <hl> From 1991 up until the early 2000s, the BBC also used LaserDisc technology to play out the channel idents.

By the early 2000s, LaserDisc was completely replaced by DVD in the North American retail marketplace, as neither players nor software were then produced. Players were still exported to North America from Japan until the end of 2001. The format has retained some popularity among American collectors, and to a greater degree in Japan, where the format was better supported and more prevalent during its life. In Europe, LaserDisc always remained an obscure format. It was chosen by the <hl> British Broadcasting Corporation (BBC) <hl> for the BBC Domesday Project in the mid-1980s, a school-based project to commemorate 900 years since the original Domesday Book in England. From 1991 up until the early 2000s, the BBC also used LaserDisc technology to play out the channel idents.


Question: What was the BBC Domesday Project?

Answer: a school-based project to commemorate 900 years since the original Domesday Book in England

By the early 2000s, LaserDisc was completely replaced by DVD in the North American retail marketplace, as neither players nor software were then produced. Players were still exported to North America from Japan until the end of 2001. The format has retained some popularity among American collectors, and to a greater degree in Japan, where the format was better supported and more prevalent during its life. In Europe, LaserDisc always remained an obscure format. <hl> It was chosen by the British Broadcasting Corporation (BBC) for the BBC Domesday Project in the mid-1980s, a school-based project to commemorate 900 years since the original Domesday Book in England . <hl> From 1991 up until the early 2000s, the BBC also used LaserDisc technology to play out the channel idents.

By the early 2000s, LaserDisc was completely replaced by DVD in the North American retail marketplace, as neither players nor software were then produced. Players were still exported to North America from Japan until the end of 2001. The format has retained some popularity among American collectors, and to a greater degree in Japan, where the format was better supported and more prevalent during its life. In Europe, LaserDisc always remained an obscure format. It was chosen by the British Broadcasting Corporation (BBC) for the BBC Domesday Project in the mid-1980s, <hl> a school-based project to commemorate 900 years since the original Domesday Book in England <hl>. From 1991 up until the early 2000s, the BBC also used LaserDisc technology to play out the channel idents.

It was chosen by the British Broadcasting Corporation (BBC) for the BBC Domesday Project in the mid-1980s, <hl> a school-based project to commemorate 900 years since the original Domesday Book in England <hl> .


Question: Which country still exported players to North America until 2001?

Answer: Japan

By the early 2000s, LaserDisc was completely replaced by DVD in the North American retail marketplace, as neither players nor software were then produced. <hl> Players were still exported to North America from Japan until the end of 2001. <hl> The format has retained some popularity among American collectors, and to a greater degree in Japan, where the format was better supported and more prevalent during its life. In Europe, LaserDisc always remained an obscure format. It was chosen by the British Broadcasting Corporation (BBC) for the BBC Domesday Project in the mid-1980s, a school-based project to commemorate 900 years since the original Domesday Book in England. From 1991 up until the early 2000s, the BBC also used LaserDisc technology to play out the channel idents.

By the early 2000s, LaserDisc was completely replaced by DVD in the North American retail marketplace, as neither players nor software were then produced. Players were still exported to North America from <hl> Japan <hl> until the end of 2001. The format has retained some popularity among American collectors, and to a greater degree in Japan, where the format was better supported and more prevalent during its life. In Europe, LaserDisc always remained an obscure format. It was chosen by the British Broadcasting Corporation (BBC) for the BBC Domesday Project in the mid-1980s, a school-based project to commemorate 900 years since the original Domesday Book in England. From 1991 up until the early 2000s, the BBC also used LaserDisc technology to play out the channel idents.


Question: How large was a standard LaserDisc?

The standard home video LaserDisc was 30 cm (12 in) in diameter and made up of two single-sided aluminum discs layered in plastic. Although appearing similar to compact discs or DVDs, LaserDiscs used analog video stored in the composite domain (having a video bandwidth approximately equivalent to the 1-inch (25 mm) C-Type VTR format) with analog FM stereo sound and PCM digital audio. The LaserDisc at its most fundamental level was still recorded as a series of pits and lands much like CDs, DVDs, and even Blu-ray Discs are today. However, while the encoding is of a binary nature, the information is encoded as analog pulse width modulation with a 50% duty cycle, where the information is contained in the lengths and spacing of the pits. In true digital media the pits, or their edges, directly represent 1s and 0s of a binary digital information stream. Early LaserDiscs featured in 1978 were entirely analog but the format evolved to incorporate digital stereo sound in CD format (sometimes with a TOSlink or coax output to feed an external DAC), and later multi-channel formats such as Dolby Digital and DTS.

Answer: 30 cm (12 in) in diameter

<hl> The standard home video LaserDisc was 30 cm (12 in) in diameter and made up of two single-sided aluminum discs layered in plastic. <hl> Although appearing similar to compact discs or DVDs, LaserDiscs used analog video stored in the composite domain (having a video bandwidth approximately equivalent to the 1-inch (25 mm) C-Type VTR format) with analog FM stereo sound and PCM digital audio. The LaserDisc at its most fundamental level was still recorded as a series of pits and lands much like CDs, DVDs, and even Blu-ray Discs are today. However, while the encoding is of a binary nature, the information is encoded as analog pulse width modulation with a 50% duty cycle, where the information is contained in the lengths and spacing of the pits. In true digital media the pits, or their edges, directly represent 1s and 0s of a binary digital information stream. Early LaserDiscs featured in 1978 were entirely analog but the format evolved to incorporate digital stereo sound in CD format (sometimes with a TOSlink or coax output to feed an external DAC), and later multi-channel formats such as Dolby Digital and DTS.

The standard home video LaserDisc was <hl> 30 cm (12 in) in diameter <hl> and made up of two single-sided aluminum discs layered in plastic. Although appearing similar to compact discs or DVDs, LaserDiscs used analog video stored in the composite domain (having a video bandwidth approximately equivalent to the 1-inch (25 mm) C-Type VTR format) with analog FM stereo sound and PCM digital audio. The LaserDisc at its most fundamental level was still recorded as a series of pits and lands much like CDs, DVDs, and even Blu-ray Discs are today. However, while the encoding is of a binary nature, the information is encoded as analog pulse width modulation with a 50% duty cycle, where the information is contained in the lengths and spacing of the pits. In true digital media the pits, or their edges, directly represent 1s and 0s of a binary digital information stream. Early LaserDiscs featured in 1978 were entirely analog but the format evolved to incorporate digital stereo sound in CD format (sometimes with a TOSlink or coax output to feed an external DAC), and later multi-channel formats such as Dolby Digital and DTS.


Question: What numbers are used in Binary information coding?

Answer: 1s and 0s

The standard home video LaserDisc was 30 cm (12 in) in diameter and made up of two single-sided aluminum discs layered in plastic. Although appearing similar to compact discs or DVDs, LaserDiscs used analog video stored in the composite domain (having a video bandwidth approximately equivalent to the 1-inch (25 mm) C-Type VTR format) with analog FM stereo sound and PCM digital audio. The LaserDisc at its most fundamental level was still recorded as a series of pits and lands much like CDs, DVDs, and even Blu-ray Discs are today. However, while the encoding is of a binary nature, the information is encoded as analog pulse width modulation with a 50% duty cycle, where the information is contained in the lengths and spacing of the pits. <hl> In true digital media the pits, or their edges, directly represent 1s and 0s of a binary digital information stream. <hl> Early LaserDiscs featured in 1978 were entirely analog but the format evolved to incorporate digital stereo sound in CD format (sometimes with a TOSlink or coax output to feed an external DAC), and later multi-channel formats such as Dolby Digital and DTS.

The standard home video LaserDisc was 30 cm (12 in) in diameter and made up of two single-sided aluminum discs layered in plastic. Although appearing similar to compact discs or DVDs, LaserDiscs used analog video stored in the composite domain (having a video bandwidth approximately equivalent to the 1-inch (25 mm) C-Type VTR format) with analog FM stereo sound and PCM digital audio. The LaserDisc at its most fundamental level was still recorded as a series of pits and lands much like CDs, DVDs, and even Blu-ray Discs are today. However, while the encoding is of a binary nature, the information is encoded as analog pulse width modulation with a 50% duty cycle, where the information is contained in the lengths and spacing of the pits. In true digital media the pits, or their edges, directly represent <hl> 1s and 0s <hl> of a binary digital information stream. Early LaserDiscs featured in 1978 were entirely analog but the format evolved to incorporate digital stereo sound in CD format (sometimes with a TOSlink or coax output to feed an external DAC), and later multi-channel formats such as Dolby Digital and DTS.


Question: Were the ealiest LaserDiscs in 1978 analog or digitally formatted?

Answer: analog

The standard home video LaserDisc was 30 cm (12 in) in diameter and made up of two single-sided aluminum discs layered in plastic. <hl> Although appearing similar to compact discs or DVDs, LaserDiscs used analog video stored in the composite domain (having a video bandwidth approximately equivalent to the 1-inch (25 mm) C-Type VTR format) with analog FM stereo sound and PCM digital audio. <hl> The LaserDisc at its most fundamental level was still recorded as a series of pits and lands much like CDs, DVDs, and even Blu-ray Discs are today. However, while the encoding is of a binary nature, the information is encoded as analog pulse width modulation with a 50% duty cycle, where the information is contained in the lengths and spacing of the pits. In true digital media the pits, or their edges, directly represent 1s and 0s of a binary digital information stream. Early LaserDiscs featured in 1978 were entirely analog but the format evolved to incorporate digital stereo sound in CD format (sometimes with a TOSlink or coax output to feed an external DAC), and later multi-channel formats such as Dolby Digital and DTS.

The standard home video LaserDisc was 30 cm (12 in) in diameter and made up of two single-sided aluminum discs layered in plastic. Although appearing similar to compact discs or DVDs, LaserDiscs used <hl> analog <hl> video stored in the composite domain (having a video bandwidth approximately equivalent to the 1-inch (25 mm) C-Type VTR format) with analog FM stereo sound and PCM digital audio. The LaserDisc at its most fundamental level was still recorded as a series of pits and lands much like CDs, DVDs, and even Blu-ray Discs are today. However, while the encoding is of a binary nature, the information is encoded as analog pulse width modulation with a 50% duty cycle, where the information is contained in the lengths and spacing of the pits. In true digital media the pits, or their edges, directly represent 1s and 0s of a binary digital information stream. Early LaserDiscs featured in 1978 were entirely analog but the format evolved to incorporate digital stereo sound in CD format (sometimes with a TOSlink or coax output to feed an external DAC), and later multi-channel formats such as Dolby Digital and DTS.


Question: What was the length capacity of the CAA55 format?

As Pioneer introduced Digital Audio to LaserDisc in 1985, they further refined the CAA format. CAA55 was introduced in 1985 with a total playback capacity per side of 55 minutes 5 seconds, reducing the video capacity to resolve bandwidth issues with the inclusion of Digital Audio. Several titles released between 1985 and 1987 were analog audio only due to the length of the title and the desire to keep the film on one disc (e.g., Back to the Future). By 1987, Pioneer had overcome the technical challenges and was able to once again encode in CAA60, allowing a total of 60 minutes 5 seconds. Pioneer further refined CAA, offering CAA45, encoding 45 minutes of material, but filling the entire playback surface of the side. Used on only a handful of titles, CAA65 offered 65 minutes 5 seconds of playback time per side. There are a handful of titles pressed by Technidisc that used CAA50. The final variant of CAA is CAA70, which could accommodate 70 minutes of playback time per side. There are not any known uses of this format on the consumer market.

Answer: 55 minutes 5 seconds

As Pioneer introduced Digital Audio to LaserDisc in 1985, they further refined the CAA format. <hl> CAA55 was introduced in 1985 with a total playback capacity per side of 55 minutes 5 seconds , reducing the video capacity to resolve bandwidth issues with the inclusion of Digital Audio. <hl> Several titles released between 1985 and 1987 were analog audio only due to the length of the title and the desire to keep the film on one disc (e.g., Back to the Future). By 1987, Pioneer had overcome the technical challenges and was able to once again encode in CAA60, allowing a total of 60 minutes 5 seconds. Pioneer further refined CAA, offering CAA45, encoding 45 minutes of material, but filling the entire playback surface of the side. Used on only a handful of titles, CAA65 offered 65 minutes 5 seconds of playback time per side. There are a handful of titles pressed by Technidisc that used CAA50. The final variant of CAA is CAA70, which could accommodate 70 minutes of playback time per side. There are not any known uses of this format on the consumer market.

As Pioneer introduced Digital Audio to LaserDisc in 1985, they further refined the CAA format. CAA55 was introduced in 1985 with a total playback capacity per side of <hl> 55 minutes 5 seconds <hl>, reducing the video capacity to resolve bandwidth issues with the inclusion of Digital Audio. Several titles released between 1985 and 1987 were analog audio only due to the length of the title and the desire to keep the film on one disc (e.g., Back to the Future). By 1987, Pioneer had overcome the technical challenges and was able to once again encode in CAA60, allowing a total of 60 minutes 5 seconds. Pioneer further refined CAA, offering CAA45, encoding 45 minutes of material, but filling the entire playback surface of the side. Used on only a handful of titles, CAA65 offered 65 minutes 5 seconds of playback time per side. There are a handful of titles pressed by Technidisc that used CAA50. The final variant of CAA is CAA70, which could accommodate 70 minutes of playback time per side. There are not any known uses of this format on the consumer market.

CAA55 was introduced in 1985 with a total playback capacity per side of <hl> 55 minutes 5 seconds <hl> , reducing the video capacity to resolve bandwidth issues with the inclusion of Digital Audio.


Question: Why was Back to the Future released with analog sound?

Answer: due to the length of the title and the desire to keep the film on one disc

As Pioneer introduced Digital Audio to LaserDisc in 1985, they further refined the CAA format. CAA55 was introduced in 1985 with a total playback capacity per side of 55 minutes 5 seconds, reducing the video capacity to resolve bandwidth issues with the inclusion of Digital Audio. <hl> Several titles released between 1985 and 1987 were analog audio only due to the length of the title and the desire to keep the film on one disc (e.g., Back to the Future). <hl> By 1987, Pioneer had overcome the technical challenges and was able to once again encode in CAA60, allowing a total of 60 minutes 5 seconds. Pioneer further refined CAA, offering CAA45, encoding 45 minutes of material, but filling the entire playback surface of the side. Used on only a handful of titles, CAA65 offered 65 minutes 5 seconds of playback time per side. There are a handful of titles pressed by Technidisc that used CAA50. The final variant of CAA is CAA70, which could accommodate 70 minutes of playback time per side. There are not any known uses of this format on the consumer market.

As Pioneer introduced Digital Audio to LaserDisc in 1985, they further refined the CAA format. CAA55 was introduced in 1985 with a total playback capacity per side of 55 minutes 5 seconds, reducing the video capacity to resolve bandwidth issues with the inclusion of Digital Audio. Several titles released between 1985 and 1987 were analog audio only <hl> due to the length of the title and the desire to keep the film on one disc <hl> (e.g., Back to the Future). By 1987, Pioneer had overcome the technical challenges and was able to once again encode in CAA60, allowing a total of 60 minutes 5 seconds. Pioneer further refined CAA, offering CAA45, encoding 45 minutes of material, but filling the entire playback surface of the side. Used on only a handful of titles, CAA65 offered 65 minutes 5 seconds of playback time per side. There are a handful of titles pressed by Technidisc that used CAA50. The final variant of CAA is CAA70, which could accommodate 70 minutes of playback time per side. There are not any known uses of this format on the consumer market.


Question: What was the maximum length of the CAA60 format?

Answer: 60 minutes 5 seconds

As Pioneer introduced Digital Audio to LaserDisc in 1985, they further refined the CAA format. CAA55 was introduced in 1985 with a total playback capacity per side of 55 minutes 5 seconds, reducing the video capacity to resolve bandwidth issues with the inclusion of Digital Audio. Several titles released between 1985 and 1987 were analog audio only due to the length of the title and the desire to keep the film on one disc (e.g., Back to the Future). <hl> By 1987, Pioneer had overcome the technical challenges and was able to once again encode in CAA60, allowing a total of 60 minutes 5 seconds . <hl> Pioneer further refined CAA, offering CAA45, encoding 45 minutes of material, but filling the entire playback surface of the side. Used on only a handful of titles, CAA65 offered 65 minutes 5 seconds of playback time per side. There are a handful of titles pressed by Technidisc that used CAA50. The final variant of CAA is CAA70, which could accommodate 70 minutes of playback time per side. There are not any known uses of this format on the consumer market.

As Pioneer introduced Digital Audio to LaserDisc in 1985, they further refined the CAA format. CAA55 was introduced in 1985 with a total playback capacity per side of 55 minutes 5 seconds, reducing the video capacity to resolve bandwidth issues with the inclusion of Digital Audio. Several titles released between 1985 and 1987 were analog audio only due to the length of the title and the desire to keep the film on one disc (e.g., Back to the Future). By 1987, Pioneer had overcome the technical challenges and was able to once again encode in CAA60, allowing a total of <hl> 60 minutes 5 seconds <hl>. Pioneer further refined CAA, offering CAA45, encoding 45 minutes of material, but filling the entire playback surface of the side. Used on only a handful of titles, CAA65 offered 65 minutes 5 seconds of playback time per side. There are a handful of titles pressed by Technidisc that used CAA50. The final variant of CAA is CAA70, which could accommodate 70 minutes of playback time per side. There are not any known uses of this format on the consumer market.

By 1987, Pioneer had overcome the technical challenges and was able to once again encode in CAA60, allowing a total of <hl> 60 minutes 5 seconds <hl> .


Question: How many works were released to the public with the CAA70 format?

Answer: There are not any known uses of this format on the consumer market

As Pioneer introduced Digital Audio to LaserDisc in 1985, they further refined the CAA format. CAA55 was introduced in 1985 with a total playback capacity per side of 55 minutes 5 seconds, reducing the video capacity to resolve bandwidth issues with the inclusion of Digital Audio. Several titles released between 1985 and 1987 were analog audio only due to the length of the title and the desire to keep the film on one disc (e.g., Back to the Future). By 1987, Pioneer had overcome the technical challenges and was able to once again encode in CAA60, allowing a total of 60 minutes 5 seconds. Pioneer further refined CAA, offering CAA45, encoding 45 minutes of material, but filling the entire playback surface of the side. Used on only a handful of titles, CAA65 offered 65 minutes 5 seconds of playback time per side. There are a handful of titles pressed by Technidisc that used CAA50. The final variant of CAA is CAA70, which could accommodate 70 minutes of playback time per side. <hl> There are not any known uses of this format on the consumer market . <hl>

As Pioneer introduced Digital Audio to LaserDisc in 1985, they further refined the CAA format. CAA55 was introduced in 1985 with a total playback capacity per side of 55 minutes 5 seconds, reducing the video capacity to resolve bandwidth issues with the inclusion of Digital Audio. Several titles released between 1985 and 1987 were analog audio only due to the length of the title and the desire to keep the film on one disc (e.g., Back to the Future). By 1987, Pioneer had overcome the technical challenges and was able to once again encode in CAA60, allowing a total of 60 minutes 5 seconds. Pioneer further refined CAA, offering CAA45, encoding 45 minutes of material, but filling the entire playback surface of the side. Used on only a handful of titles, CAA65 offered 65 minutes 5 seconds of playback time per side. There are a handful of titles pressed by Technidisc that used CAA50. The final variant of CAA is CAA70, which could accommodate 70 minutes of playback time per side. <hl> There are not any known uses of this format on the consumer market <hl>.

<hl> There are not any known uses of this format on the consumer market <hl> .


Question: What was the difference between LaserDisc and LaserVision in the UK?

Sound could be stored in either analog or digital format and in a variety of surround sound formats; NTSC discs could carry two analog audio tracks, plus two uncompressed PCM digital audio tracks, which were (EFM, CIRC, 16-bit and 44.056 kHz sample rate). PAL discs could carry one pair of audio tracks, either analog or digital and the digital tracks on a PAL disc were 16-bit 44.1 kHz as on a CD; in the UK, the term "LaserVision" is used to refer to discs with analog sound, while "LaserDisc" is used for those with digital audio. The digital sound signal in both formats are EFM-encoded as in CD. Dolby Digital (also called AC-3) and DTS—which are now common on DVD titles—first became available on LaserDisc, and Star Wars: Episode I – The Phantom Menace (1999) which was released on LaserDisc in Japan, is among the first home video releases ever to include 6.1 channel Dolby Digital EX Surround. Unlike DVDs, which carry Dolby Digital audio in digital form, LaserDiscs store Dolby Digital in a frequency modulated form within a track normally used for analog audio. Extracting Dolby Digital from a LaserDisc required a player equipped with a special "AC-3 RF" output and an external demodulator in addition to an AC-3 decoder. The demodulator was necessary to convert the 2.88 MHz modulated AC-3 information on the disc into a 384 kbit/s signal that the decoder could handle. DTS audio, when available on a disc, replaced the digital audio tracks; hearing DTS sound required only an S/PDIF compliant digital connection to a DTS decoder.

Answer: "LaserVision" is used to refer to discs with analog sound, while "LaserDisc" is used for those with digital audio

Sound could be stored in either analog or digital format and in a variety of surround sound formats; NTSC discs could carry two analog audio tracks, plus two uncompressed PCM digital audio tracks, which were (EFM, CIRC, 16-bit and 44.056 kHz sample rate). <hl> PAL discs could carry one pair of audio tracks, either analog or digital and the digital tracks on a PAL disc were 16-bit 44.1 kHz as on a CD; in the UK, the term "LaserVision" is used to refer to discs with analog sound, while "LaserDisc" is used for those with digital audio . <hl> The digital sound signal in both formats are EFM-encoded as in CD. Dolby Digital (also called AC-3) and DTS—which are now common on DVD titles—first became available on LaserDisc, and Star Wars: Episode I – The Phantom Menace (1999) which was released on LaserDisc in Japan, is among the first home video releases ever to include 6.1 channel Dolby Digital EX Surround. Unlike DVDs, which carry Dolby Digital audio in digital form, LaserDiscs store Dolby Digital in a frequency modulated form within a track normally used for analog audio. Extracting Dolby Digital from a LaserDisc required a player equipped with a special "AC-3 RF" output and an external demodulator in addition to an AC-3 decoder. The demodulator was necessary to convert the 2.88 MHz modulated AC-3 information on the disc into a 384 kbit/s signal that the decoder could handle. DTS audio, when available on a disc, replaced the digital audio tracks; hearing DTS sound required only an S/PDIF compliant digital connection to a DTS decoder.

Sound could be stored in either analog or digital format and in a variety of surround sound formats; NTSC discs could carry two analog audio tracks, plus two uncompressed PCM digital audio tracks, which were (EFM, CIRC, 16-bit and 44.056 kHz sample rate). PAL discs could carry one pair of audio tracks, either analog or digital and the digital tracks on a PAL disc were 16-bit 44.1 kHz as on a CD; in the UK, the term <hl> "LaserVision" is used to refer to discs with analog sound, while "LaserDisc" is used for those with digital audio <hl>. The digital sound signal in both formats are EFM-encoded as in CD. Dolby Digital (also called AC-3) and DTS—which are now common on DVD titles—first became available on LaserDisc, and Star Wars: Episode I – The Phantom Menace (1999) which was released on LaserDisc in Japan, is among the first home video releases ever to include 6.1 channel Dolby Digital EX Surround. Unlike DVDs, which carry Dolby Digital audio in digital form, LaserDiscs store Dolby Digital in a frequency modulated form within a track normally used for analog audio. Extracting Dolby Digital from a LaserDisc required a player equipped with a special "AC-3 RF" output and an external demodulator in addition to an AC-3 decoder. The demodulator was necessary to convert the 2.88 MHz modulated AC-3 information on the disc into a 384 kbit/s signal that the decoder could handle. DTS audio, when available on a disc, replaced the digital audio tracks; hearing DTS sound required only an S/PDIF compliant digital connection to a DTS decoder.

PAL discs could carry one pair of audio tracks, either analog or digital and the digital tracks on a PAL disc were 16-bit 44.1 kHz as on a CD; in the UK, the term <hl> "LaserVision" is used to refer to discs with analog sound, while "LaserDisc" is used for those with digital audio <hl> .


Question: The Phantom Menace was one of the first home videos to use what sound format?

Answer: 6.1 channel Dolby Digital EX Surround.

Sound could be stored in either analog or digital format and in a variety of surround sound formats; NTSC discs could carry two analog audio tracks, plus two uncompressed PCM digital audio tracks, which were (EFM, CIRC, 16-bit and 44.056 kHz sample rate). PAL discs could carry one pair of audio tracks, either analog or digital and the digital tracks on a PAL disc were 16-bit 44.1 kHz as on a CD; in the UK, the term "LaserVision" is used to refer to discs with analog sound, while "LaserDisc" is used for those with digital audio. The digital sound signal in both formats are EFM-encoded as in CD. <hl> Dolby Digital (also called AC-3) and DTS—which are now common on DVD titles—first became available on LaserDisc, and Star Wars: Episode I – The Phantom Menace (1999) which was released on LaserDisc in Japan, is among the first home video releases ever to include 6.1 channel Dolby Digital EX Surround. Unlike DVDs, which carry Dolby Digital audio in digital form, LaserDiscs store Dolby Digital in a frequency modulated form within a track normally used for analog audio. <hl> Extracting Dolby Digital from a LaserDisc required a player equipped with a special "AC-3 RF" output and an external demodulator in addition to an AC-3 decoder. The demodulator was necessary to convert the 2.88 MHz modulated AC-3 information on the disc into a 384 kbit/s signal that the decoder could handle. DTS audio, when available on a disc, replaced the digital audio tracks; hearing DTS sound required only an S/PDIF compliant digital connection to a DTS decoder.

Sound could be stored in either analog or digital format and in a variety of surround sound formats; NTSC discs could carry two analog audio tracks, plus two uncompressed PCM digital audio tracks, which were (EFM, CIRC, 16-bit and 44.056 kHz sample rate). PAL discs could carry one pair of audio tracks, either analog or digital and the digital tracks on a PAL disc were 16-bit 44.1 kHz as on a CD; in the UK, the term "LaserVision" is used to refer to discs with analog sound, while "LaserDisc" is used for those with digital audio. The digital sound signal in both formats are EFM-encoded as in CD. Dolby Digital (also called AC-3) and DTS—which are now common on DVD titles—first became available on LaserDisc, and Star Wars: Episode I – The Phantom Menace (1999) which was released on LaserDisc in Japan, is among the first home video releases ever to include <hl> 6.1 channel Dolby Digital EX Surround. <hl> Unlike DVDs, which carry Dolby Digital audio in digital form, LaserDiscs store Dolby Digital in a frequency modulated form within a track normally used for analog audio. Extracting Dolby Digital from a LaserDisc required a player equipped with a special "AC-3 RF" output and an external demodulator in addition to an AC-3 decoder. The demodulator was necessary to convert the 2.88 MHz modulated AC-3 information on the disc into a 384 kbit/s signal that the decoder could handle. DTS audio, when available on a disc, replaced the digital audio tracks; hearing DTS sound required only an S/PDIF compliant digital connection to a DTS decoder.


Question: What sound formatting do DVDs use?

Answer: Dolby Digital audio in digital form

Sound could be stored in either analog or digital format and in a variety of surround sound formats; NTSC discs could carry two analog audio tracks, plus two uncompressed PCM digital audio tracks, which were (EFM, CIRC, 16-bit and 44.056 kHz sample rate). PAL discs could carry one pair of audio tracks, either analog or digital and the digital tracks on a PAL disc were 16-bit 44.1 kHz as on a CD; in the UK, the term "LaserVision" is used to refer to discs with analog sound, while "LaserDisc" is used for those with digital audio. The digital sound signal in both formats are EFM-encoded as in CD. Dolby Digital (also called AC-3) and DTS—which are now common on DVD titles—first became available on LaserDisc, and Star Wars: Episode I – The Phantom Menace (1999) which was released on LaserDisc in Japan, is among the first home video releases ever to include 6.1 channel Dolby Digital EX Surround. <hl> Unlike DVDs, which carry Dolby Digital audio in digital form , LaserDiscs store Dolby Digital in a frequency modulated form within a track normally used for analog audio. <hl> Extracting Dolby Digital from a LaserDisc required a player equipped with a special "AC-3 RF" output and an external demodulator in addition to an AC-3 decoder. The demodulator was necessary to convert the 2.88 MHz modulated AC-3 information on the disc into a 384 kbit/s signal that the decoder could handle. DTS audio, when available on a disc, replaced the digital audio tracks; hearing DTS sound required only an S/PDIF compliant digital connection to a DTS decoder.

Sound could be stored in either analog or digital format and in a variety of surround sound formats; NTSC discs could carry two analog audio tracks, plus two uncompressed PCM digital audio tracks, which were (EFM, CIRC, 16-bit and 44.056 kHz sample rate). PAL discs could carry one pair of audio tracks, either analog or digital and the digital tracks on a PAL disc were 16-bit 44.1 kHz as on a CD; in the UK, the term "LaserVision" is used to refer to discs with analog sound, while "LaserDisc" is used for those with digital audio. The digital sound signal in both formats are EFM-encoded as in CD. Dolby Digital (also called AC-3) and DTS—which are now common on DVD titles—first became available on LaserDisc, and Star Wars: Episode I – The Phantom Menace (1999) which was released on LaserDisc in Japan, is among the first home video releases ever to include 6.1 channel Dolby Digital EX Surround. Unlike DVDs, which carry <hl> Dolby Digital audio in digital form <hl>, LaserDiscs store Dolby Digital in a frequency modulated form within a track normally used for analog audio. Extracting Dolby Digital from a LaserDisc required a player equipped with a special "AC-3 RF" output and an external demodulator in addition to an AC-3 decoder. The demodulator was necessary to convert the 2.88 MHz modulated AC-3 information on the disc into a 384 kbit/s signal that the decoder could handle. DTS audio, when available on a disc, replaced the digital audio tracks; hearing DTS sound required only an S/PDIF compliant digital connection to a DTS decoder.

Unlike DVDs, which carry <hl> Dolby Digital audio in digital form <hl> , LaserDiscs store Dolby Digital in a frequency modulated form within a track normally used for analog audio.


Question: What competition caused LaserDisc sales to decline?

In the mid to late 1990s many higher-end AV receivers included the demodulator circuit specifically for the LaserDisc players RF modulated Dolby Digital AC-3 signal. By the late 1990s with LaserDisc players and disc sales declining due to DVD's growing popularity the AV receiver manufacturers removed the demodulator circuit. Although DVD players were capable of playing Dolby Digital tracks, the signal out of DVD player were not in a modulated form and not compatible with the inputs designed for LaserDisc AC-3. Outboard demodulators were available for a period that convert the AC-3 signal to standard Dolby Digital signal that was compatible with the standard Dolby Digital/PCM inputs on capable AV receivers. Another type marketed by Onkyo and others converted the RF AC-3 signal to 6-channel analog audio.

Answer: DVD's growing popularity

In the mid to late 1990s many higher-end AV receivers included the demodulator circuit specifically for the LaserDisc players RF modulated Dolby Digital AC-3 signal. <hl> By the late 1990s with LaserDisc players and disc sales declining due to DVD's growing popularity the AV receiver manufacturers removed the demodulator circuit. <hl> Although DVD players were capable of playing Dolby Digital tracks, the signal out of DVD player were not in a modulated form and not compatible with the inputs designed for LaserDisc AC-3. Outboard demodulators were available for a period that convert the AC-3 signal to standard Dolby Digital signal that was compatible with the standard Dolby Digital/PCM inputs on capable AV receivers. Another type marketed by Onkyo and others converted the RF AC-3 signal to 6-channel analog audio.

In the mid to late 1990s many higher-end AV receivers included the demodulator circuit specifically for the LaserDisc players RF modulated Dolby Digital AC-3 signal. By the late 1990s with LaserDisc players and disc sales declining due to <hl> DVD's growing popularity <hl> the AV receiver manufacturers removed the demodulator circuit. Although DVD players were capable of playing Dolby Digital tracks, the signal out of DVD player were not in a modulated form and not compatible with the inputs designed for LaserDisc AC-3. Outboard demodulators were available for a period that convert the AC-3 signal to standard Dolby Digital signal that was compatible with the standard Dolby Digital/PCM inputs on capable AV receivers. Another type marketed by Onkyo and others converted the RF AC-3 signal to 6-channel analog audio.


Question: Did all AV receivers carry the demodulator circuits necessary for LaserDiscs, or only high-end models?

Answer: higher-end

<hl> In the mid to late 1990s many higher-end AV receivers included the demodulator circuit specifically for the LaserDisc players RF modulated Dolby Digital AC-3 signal. <hl> By the late 1990s with LaserDisc players and disc sales declining due to DVD's growing popularity the AV receiver manufacturers removed the demodulator circuit. Although DVD players were capable of playing Dolby Digital tracks, the signal out of DVD player were not in a modulated form and not compatible with the inputs designed for LaserDisc AC-3. Outboard demodulators were available for a period that convert the AC-3 signal to standard Dolby Digital signal that was compatible with the standard Dolby Digital/PCM inputs on capable AV receivers. Another type marketed by Onkyo and others converted the RF AC-3 signal to 6-channel analog audio.

In the mid to late 1990s many <hl> higher-end <hl> AV receivers included the demodulator circuit specifically for the LaserDisc players RF modulated Dolby Digital AC-3 signal. By the late 1990s with LaserDisc players and disc sales declining due to DVD's growing popularity the AV receiver manufacturers removed the demodulator circuit. Although DVD players were capable of playing Dolby Digital tracks, the signal out of DVD player were not in a modulated form and not compatible with the inputs designed for LaserDisc AC-3. Outboard demodulators were available for a period that convert the AC-3 signal to standard Dolby Digital signal that was compatible with the standard Dolby Digital/PCM inputs on capable AV receivers. Another type marketed by Onkyo and others converted the RF AC-3 signal to 6-channel analog audio.


Question: What did the Onkyo outboard demodulator covert the RF AC-2 signal to?

Answer: 6-channel analog audio

In the mid to late 1990s many higher-end AV receivers included the demodulator circuit specifically for the LaserDisc players RF modulated Dolby Digital AC-3 signal. By the late 1990s with LaserDisc players and disc sales declining due to DVD's growing popularity the AV receiver manufacturers removed the demodulator circuit. Although DVD players were capable of playing Dolby Digital tracks, the signal out of DVD player were not in a modulated form and not compatible with the inputs designed for LaserDisc AC-3. Outboard demodulators were available for a period that convert the AC-3 signal to standard Dolby Digital signal that was compatible with the standard Dolby Digital/PCM inputs on capable AV receivers. <hl> Another type marketed by Onkyo and others converted the RF AC-3 signal to 6-channel analog audio . <hl>

In the mid to late 1990s many higher-end AV receivers included the demodulator circuit specifically for the LaserDisc players RF modulated Dolby Digital AC-3 signal. By the late 1990s with LaserDisc players and disc sales declining due to DVD's growing popularity the AV receiver manufacturers removed the demodulator circuit. Although DVD players were capable of playing Dolby Digital tracks, the signal out of DVD player were not in a modulated form and not compatible with the inputs designed for LaserDisc AC-3. Outboard demodulators were available for a period that convert the AC-3 signal to standard Dolby Digital signal that was compatible with the standard Dolby Digital/PCM inputs on capable AV receivers. Another type marketed by Onkyo and others converted the RF AC-3 signal to <hl> 6-channel analog audio <hl>.

Another type marketed by Onkyo and others converted the RF AC-3 signal to <hl> 6-channel analog audio <hl> .


Question: Was sound quality from disc to disc and between players consistent or varied?

At least where the digital audio tracks were concerned, the sound quality was unsurpassed at the time compared to consumer videotape, but the quality of the analog soundtracks varied greatly depending on the disc and, sometimes, the player. Many early and lower-end LD players had poor analog audio components, and many early discs had poorly mastered analog audio tracks, making digital soundtracks in any form most desirable to serious enthusiasts. Early DiscoVision and LaserDisc titles lacked the digital audio option, but many of those movies received digital sound in later re-issues by Universal, and the quality of analog audio tracks generally got far better as time went on. Many discs that had originally carried old analog stereo tracks received new Dolby Stereo and Dolby Surround tracks instead, often in addition to digital tracks, helping boost sound quality. Later analog discs also applied CX Noise Reduction, which improved the signal-noise ratio of their audio.

Answer: varied greatly

<hl> At least where the digital audio tracks were concerned, the sound quality was unsurpassed at the time compared to consumer videotape, but the quality of the analog soundtracks varied greatly depending on the disc and, sometimes, the player. <hl> Many early and lower-end LD players had poor analog audio components, and many early discs had poorly mastered analog audio tracks, making digital soundtracks in any form most desirable to serious enthusiasts. Early DiscoVision and LaserDisc titles lacked the digital audio option, but many of those movies received digital sound in later re-issues by Universal, and the quality of analog audio tracks generally got far better as time went on. Many discs that had originally carried old analog stereo tracks received new Dolby Stereo and Dolby Surround tracks instead, often in addition to digital tracks, helping boost sound quality. Later analog discs also applied CX Noise Reduction, which improved the signal-noise ratio of their audio.

At least where the digital audio tracks were concerned, the sound quality was unsurpassed at the time compared to consumer videotape, but the quality of the analog soundtracks <hl> varied greatly <hl> depending on the disc and, sometimes, the player. Many early and lower-end LD players had poor analog audio components, and many early discs had poorly mastered analog audio tracks, making digital soundtracks in any form most desirable to serious enthusiasts. Early DiscoVision and LaserDisc titles lacked the digital audio option, but many of those movies received digital sound in later re-issues by Universal, and the quality of analog audio tracks generally got far better as time went on. Many discs that had originally carried old analog stereo tracks received new Dolby Stereo and Dolby Surround tracks instead, often in addition to digital tracks, helping boost sound quality. Later analog discs also applied CX Noise Reduction, which improved the signal-noise ratio of their audio.


Question: Was analog or digital formatting more popular with enthusiasts?

Answer: digital

<hl> At least where the digital audio tracks were concerned, the sound quality was unsurpassed at the time compared to consumer videotape, but the quality of the analog soundtracks varied greatly depending on the disc and, sometimes, the player. <hl> Many early and lower-end LD players had poor analog audio components, and many early discs had poorly mastered analog audio tracks, making digital soundtracks in any form most desirable to serious enthusiasts. Early DiscoVision and LaserDisc titles lacked the digital audio option, but many of those movies received digital sound in later re-issues by Universal, and the quality of analog audio tracks generally got far better as time went on. Many discs that had originally carried old analog stereo tracks received new Dolby Stereo and Dolby Surround tracks instead, often in addition to digital tracks, helping boost sound quality. Later analog discs also applied CX Noise Reduction, which improved the signal-noise ratio of their audio.

At least where the <hl> digital <hl> audio tracks were concerned, the sound quality was unsurpassed at the time compared to consumer videotape, but the quality of the analog soundtracks varied greatly depending on the disc and, sometimes, the player. Many early and lower-end LD players had poor analog audio components, and many early discs had poorly mastered analog audio tracks, making digital soundtracks in any form most desirable to serious enthusiasts. Early DiscoVision and LaserDisc titles lacked the digital audio option, but many of those movies received digital sound in later re-issues by Universal, and the quality of analog audio tracks generally got far better as time went on. Many discs that had originally carried old analog stereo tracks received new Dolby Stereo and Dolby Surround tracks instead, often in addition to digital tracks, helping boost sound quality. Later analog discs also applied CX Noise Reduction, which improved the signal-noise ratio of their audio.


Question: What result did adding CX Noise Reduction have on analog discs?

Answer: improved the signal-noise ratio of their audio

At least where the digital audio tracks were concerned, the sound quality was unsurpassed at the time compared to consumer videotape, but the quality of the analog soundtracks varied greatly depending on the disc and, sometimes, the player. Many early and lower-end LD players had poor analog audio components, and many early discs had poorly mastered analog audio tracks, making digital soundtracks in any form most desirable to serious enthusiasts. Early DiscoVision and LaserDisc titles lacked the digital audio option, but many of those movies received digital sound in later re-issues by Universal, and the quality of analog audio tracks generally got far better as time went on. Many discs that had originally carried old analog stereo tracks received new Dolby Stereo and Dolby Surround tracks instead, often in addition to digital tracks, helping boost sound quality. <hl> Later analog discs also applied CX Noise Reduction, which improved the signal-noise ratio of their audio . <hl>

At least where the digital audio tracks were concerned, the sound quality was unsurpassed at the time compared to consumer videotape, but the quality of the analog soundtracks varied greatly depending on the disc and, sometimes, the player. Many early and lower-end LD players had poor analog audio components, and many early discs had poorly mastered analog audio tracks, making digital soundtracks in any form most desirable to serious enthusiasts. Early DiscoVision and LaserDisc titles lacked the digital audio option, but many of those movies received digital sound in later re-issues by Universal, and the quality of analog audio tracks generally got far better as time went on. Many discs that had originally carried old analog stereo tracks received new Dolby Stereo and Dolby Surround tracks instead, often in addition to digital tracks, helping boost sound quality. Later analog discs also applied CX Noise Reduction, which <hl> improved the signal-noise ratio of their audio <hl>.

Later analog discs also applied CX Noise Reduction, which <hl> improved the signal-noise ratio of their audio <hl> .