BackpropBuff/adversarial_qa_adversarialQA huggingface dataset:
Question: How many songs by Rosemary Clooney were on the Hall of Fame CL 2600 album?Eventually the 12-inch (300 mm) 33 1⁄3 rpm LP prevailed as the predominant format for musical albums, and 10-inch LPs were no longer issued. The last Columbia Records reissue of any Frank Sinatra songs on a 10-inch LP record was an album called Hall of Fame, CL 2600, issued on October 26, 1956, containing six songs, one each by Tony Bennett, Rosemary Clooney, Johnnie Ray, Frank Sinatra, Doris Day, and Frankie Laine. The 10-inch LP however had a longer life in the United Kingdom, where important early British rock and roll albums such as Lonnie Donegan's Lonnie Donegan Showcase and Billy Fury's The Sound of Fury were released in that form. The 7-inch (175 mm) 45 rpm disc or "single" established a significant niche for shorter duration discs, typically containing one item on each side. The 45 rpm discs typically emulated the playing time of the former 78 rpm discs, while the 12-inch LP discs eventually provided up to one half-hour of recorded material per side.

Answer:one
Question: How many songs by Frankie Laine were on the 10-inch LP released by Columbia Records in 1956?Eventually the 12-inch (300 mm) 33 1⁄3 rpm LP prevailed as the predominant format for musical albums, and 10-inch LPs were no longer issued. The last Columbia Records reissue of any Frank Sinatra songs on a 10-inch LP record was an album called Hall of Fame, CL 2600, issued on October 26, 1956, containing six songs, one each by Tony Bennett, Rosemary Clooney, Johnnie Ray, Frank Sinatra, Doris Day, and Frankie Laine. The 10-inch LP however had a longer life in the United Kingdom, where important early British rock and roll albums such as Lonnie Donegan's Lonnie Donegan Showcase and Billy Fury's The Sound of Fury were released in that form. The 7-inch (175 mm) 45 rpm disc or "single" established a significant niche for shorter duration discs, typically containing one item on each side. The 45 rpm discs typically emulated the playing time of the former 78 rpm discs, while the 12-inch LP discs eventually provided up to one half-hour of recorded material per side.

Answer:one
Question: Which artists remained popular on older abum types after the 12 inch option became popular?Eventually the 12-inch (300 mm) 33 1⁄3 rpm LP prevailed as the predominant format for musical albums, and 10-inch LPs were no longer issued. The last Columbia Records reissue of any Frank Sinatra songs on a 10-inch LP record was an album called Hall of Fame, CL 2600, issued on October 26, 1956, containing six songs, one each by Tony Bennett, Rosemary Clooney, Johnnie Ray, Frank Sinatra, Doris Day, and Frankie Laine. The 10-inch LP however had a longer life in the United Kingdom, where important early British rock and roll albums such as Lonnie Donegan's Lonnie Donegan Showcase and Billy Fury's The Sound of Fury were released in that form. The 7-inch (175 mm) 45 rpm disc or "single" established a significant niche for shorter duration discs, typically containing one item on each side. The 45 rpm discs typically emulated the playing time of the former 78 rpm discs, while the 12-inch LP discs eventually provided up to one half-hour of recorded material per side.

Answer:Lonnie Donegan's Lonnie Donegan Showcase and Billy Fury's The Sound of Fury
Question: What was the 7-inch record similar to?Eventually the 12-inch (300 mm) 33 1⁄3 rpm LP prevailed as the predominant format for musical albums, and 10-inch LPs were no longer issued. The last Columbia Records reissue of any Frank Sinatra songs on a 10-inch LP record was an album called Hall of Fame, CL 2600, issued on October 26, 1956, containing six songs, one each by Tony Bennett, Rosemary Clooney, Johnnie Ray, Frank Sinatra, Doris Day, and Frankie Laine. The 10-inch LP however had a longer life in the United Kingdom, where important early British rock and roll albums such as Lonnie Donegan's Lonnie Donegan Showcase and Billy Fury's The Sound of Fury were released in that form. The 7-inch (175 mm) 45 rpm disc or "single" established a significant niche for shorter duration discs, typically containing one item on each side. The 45 rpm discs typically emulated the playing time of the former 78 rpm discs, while the 12-inch LP discs eventually provided up to one half-hour of recorded material per side.

Answer:78 rpm discs
Question: How many songs by Frank Sinatra were on the 1956 album called Hall of Fame, CL2600?Eventually the 12-inch (300 mm) 33 1⁄3 rpm LP prevailed as the predominant format for musical albums, and 10-inch LPs were no longer issued. The last Columbia Records reissue of any Frank Sinatra songs on a 10-inch LP record was an album called Hall of Fame, CL 2600, issued on October 26, 1956, containing six songs, one each by Tony Bennett, Rosemary Clooney, Johnnie Ray, Frank Sinatra, Doris Day, and Frankie Laine. The 10-inch LP however had a longer life in the United Kingdom, where important early British rock and roll albums such as Lonnie Donegan's Lonnie Donegan Showcase and Billy Fury's The Sound of Fury were released in that form. The 7-inch (175 mm) 45 rpm disc or "single" established a significant niche for shorter duration discs, typically containing one item on each side. The 45 rpm discs typically emulated the playing time of the former 78 rpm discs, while the 12-inch LP discs eventually provided up to one half-hour of recorded material per side.

Answer:one
Question: What did the diameter of the record increase to?Eventually the 12-inch (300 mm) 33 1⁄3 rpm LP prevailed as the predominant format for musical albums, and 10-inch LPs were no longer issued. The last Columbia Records reissue of any Frank Sinatra songs on a 10-inch LP record was an album called Hall of Fame, CL 2600, issued on October 26, 1956, containing six songs, one each by Tony Bennett, Rosemary Clooney, Johnnie Ray, Frank Sinatra, Doris Day, and Frankie Laine. The 10-inch LP however had a longer life in the United Kingdom, where important early British rock and roll albums such as Lonnie Donegan's Lonnie Donegan Showcase and Billy Fury's The Sound of Fury were released in that form. The 7-inch (175 mm) 45 rpm disc or "single" established a significant niche for shorter duration discs, typically containing one item on each side. The 45 rpm discs typically emulated the playing time of the former 78 rpm discs, while the 12-inch LP discs eventually provided up to one half-hour of recorded material per side.

Answer:12-inch
Question: Which type of disc has songs on two sides?Eventually the 12-inch (300 mm) 33 1⁄3 rpm LP prevailed as the predominant format for musical albums, and 10-inch LPs were no longer issued. The last Columbia Records reissue of any Frank Sinatra songs on a 10-inch LP record was an album called Hall of Fame, CL 2600, issued on October 26, 1956, containing six songs, one each by Tony Bennett, Rosemary Clooney, Johnnie Ray, Frank Sinatra, Doris Day, and Frankie Laine. The 10-inch LP however had a longer life in the United Kingdom, where important early British rock and roll albums such as Lonnie Donegan's Lonnie Donegan Showcase and Billy Fury's The Sound of Fury were released in that form. The 7-inch (175 mm) 45 rpm disc or "single" established a significant niche for shorter duration discs, typically containing one item on each side. The 45 rpm discs typically emulated the playing time of the former 78 rpm discs, while the 12-inch LP discs eventually provided up to one half-hour of recorded material per side.

Answer:12-inch LP
Question: What was the diameter of records prior to the switch to a 12 inch format?Eventually the 12-inch (300 mm) 33 1⁄3 rpm LP prevailed as the predominant format for musical albums, and 10-inch LPs were no longer issued. The last Columbia Records reissue of any Frank Sinatra songs on a 10-inch LP record was an album called Hall of Fame, CL 2600, issued on October 26, 1956, containing six songs, one each by Tony Bennett, Rosemary Clooney, Johnnie Ray, Frank Sinatra, Doris Day, and Frankie Laine. The 10-inch LP however had a longer life in the United Kingdom, where important early British rock and roll albums such as Lonnie Donegan's Lonnie Donegan Showcase and Billy Fury's The Sound of Fury were released in that form. The 7-inch (175 mm) 45 rpm disc or "single" established a significant niche for shorter duration discs, typically containing one item on each side. The 45 rpm discs typically emulated the playing time of the former 78 rpm discs, while the 12-inch LP discs eventually provided up to one half-hour of recorded material per side.

Answer:10-inch
Question: How many songs by Tony Bennett were on the album Hall of Fame, CL 2600?Eventually the 12-inch (300 mm) 33 1⁄3 rpm LP prevailed as the predominant format for musical albums, and 10-inch LPs were no longer issued. The last Columbia Records reissue of any Frank Sinatra songs on a 10-inch LP record was an album called Hall of Fame, CL 2600, issued on October 26, 1956, containing six songs, one each by Tony Bennett, Rosemary Clooney, Johnnie Ray, Frank Sinatra, Doris Day, and Frankie Laine. The 10-inch LP however had a longer life in the United Kingdom, where important early British rock and roll albums such as Lonnie Donegan's Lonnie Donegan Showcase and Billy Fury's The Sound of Fury were released in that form. The 7-inch (175 mm) 45 rpm disc or "single" established a significant niche for shorter duration discs, typically containing one item on each side. The 45 rpm discs typically emulated the playing time of the former 78 rpm discs, while the 12-inch LP discs eventually provided up to one half-hour of recorded material per side.

Answer:one
Question: What diameter was used prior to the 10 inch record?Eventually the 12-inch (300 mm) 33 1⁄3 rpm LP prevailed as the predominant format for musical albums, and 10-inch LPs were no longer issued. The last Columbia Records reissue of any Frank Sinatra songs on a 10-inch LP record was an album called Hall of Fame, CL 2600, issued on October 26, 1956, containing six songs, one each by Tony Bennett, Rosemary Clooney, Johnnie Ray, Frank Sinatra, Doris Day, and Frankie Laine. The 10-inch LP however had a longer life in the United Kingdom, where important early British rock and roll albums such as Lonnie Donegan's Lonnie Donegan Showcase and Billy Fury's The Sound of Fury were released in that form. The 7-inch (175 mm) 45 rpm disc or "single" established a significant niche for shorter duration discs, typically containing one item on each side. The 45 rpm discs typically emulated the playing time of the former 78 rpm discs, while the 12-inch LP discs eventually provided up to one half-hour of recorded material per side.

Answer:7-inch
Question: What state are those who still enjoy the medium in?In spite of their flaws, such as the lack of portability, records still have enthusiastic supporters. Vinyl records continue to be manufactured and sold today, especially by independent rock bands and labels, although record sales are considered to be a niche market composed of audiophiles, collectors, and DJs. Old records and out-of-print recordings in particular are in much demand by collectors the world over. (See Record collecting.) Many popular new albums are given releases on vinyl records and older albums are also given reissues, sometimes on audiophile-grade vinyl.

Answer:enthusiastic
Question: What are records made from?In spite of their flaws, such as the lack of portability, records still have enthusiastic supporters. Vinyl records continue to be manufactured and sold today, especially by independent rock bands and labels, although record sales are considered to be a niche market composed of audiophiles, collectors, and DJs. Old records and out-of-print recordings in particular are in much demand by collectors the world over. (See Record collecting.) Many popular new albums are given releases on vinyl records and older albums are also given reissues, sometimes on audiophile-grade vinyl.

Answer:Vinyl
Question: What type of record do fan boys drool over more than new records?In spite of their flaws, such as the lack of portability, records still have enthusiastic supporters. Vinyl records continue to be manufactured and sold today, especially by independent rock bands and labels, although record sales are considered to be a niche market composed of audiophiles, collectors, and DJs. Old records and out-of-print recordings in particular are in much demand by collectors the world over. (See Record collecting.) Many popular new albums are given releases on vinyl records and older albums are also given reissues, sometimes on audiophile-grade vinyl.

Answer:Old records
Question: What is a notable fact that the passage mentions as it describes records popularity?In spite of their flaws, such as the lack of portability, records still have enthusiastic supporters. Vinyl records continue to be manufactured and sold today, especially by independent rock bands and labels, although record sales are considered to be a niche market composed of audiophiles, collectors, and DJs. Old records and out-of-print recordings in particular are in much demand by collectors the world over. (See Record collecting.) Many popular new albums are given releases on vinyl records and older albums are also given reissues, sometimes on audiophile-grade vinyl.

Answer:record sales are considered to be a niche market
Question: Who is most likely to buy records?In spite of their flaws, such as the lack of portability, records still have enthusiastic supporters. Vinyl records continue to be manufactured and sold today, especially by independent rock bands and labels, although record sales are considered to be a niche market composed of audiophiles, collectors, and DJs. Old records and out-of-print recordings in particular are in much demand by collectors the world over. (See Record collecting.) Many popular new albums are given releases on vinyl records and older albums are also given reissues, sometimes on audiophile-grade vinyl.

Answer:audiophiles, collectors, and DJs
Question: In what ways can new music be heard in an anachronistic manner?In spite of their flaws, such as the lack of portability, records still have enthusiastic supporters. Vinyl records continue to be manufactured and sold today, especially by independent rock bands and labels, although record sales are considered to be a niche market composed of audiophiles, collectors, and DJs. Old records and out-of-print recordings in particular are in much demand by collectors the world over. (See Record collecting.) Many popular new albums are given releases on vinyl records and older albums are also given reissues, sometimes on audiophile-grade vinyl.

Answer:vinyl records
Question: What alternate to popular rock uses the medium?In spite of their flaws, such as the lack of portability, records still have enthusiastic supporters. Vinyl records continue to be manufactured and sold today, especially by independent rock bands and labels, although record sales are considered to be a niche market composed of audiophiles, collectors, and DJs. Old records and out-of-print recordings in particular are in much demand by collectors the world over. (See Record collecting.) Many popular new albums are given releases on vinyl records and older albums are also given reissues, sometimes on audiophile-grade vinyl.

Answer:independent rock
Question: What genre is most likely to produce a record?In spite of their flaws, such as the lack of portability, records still have enthusiastic supporters. Vinyl records continue to be manufactured and sold today, especially by independent rock bands and labels, although record sales are considered to be a niche market composed of audiophiles, collectors, and DJs. Old records and out-of-print recordings in particular are in much demand by collectors the world over. (See Record collecting.) Many popular new albums are given releases on vinyl records and older albums are also given reissues, sometimes on audiophile-grade vinyl.

Answer:independent rock bands
Question: What travel related issue does the medium have?In spite of their flaws, such as the lack of portability, records still have enthusiastic supporters. Vinyl records continue to be manufactured and sold today, especially by independent rock bands and labels, although record sales are considered to be a niche market composed of audiophiles, collectors, and DJs. Old records and out-of-print recordings in particular are in much demand by collectors the world over. (See Record collecting.) Many popular new albums are given releases on vinyl records and older albums are also given reissues, sometimes on audiophile-grade vinyl.

Answer:lack of portability
Question: What is often the main usage of the passage's topic?In spite of their flaws, such as the lack of portability, records still have enthusiastic supporters. Vinyl records continue to be manufactured and sold today, especially by independent rock bands and labels, although record sales are considered to be a niche market composed of audiophiles, collectors, and DJs. Old records and out-of-print recordings in particular are in much demand by collectors the world over. (See Record collecting.) Many popular new albums are given releases on vinyl records and older albums are also given reissues, sometimes on audiophile-grade vinyl.

Answer:Many popular new albums are given releases on vinyl records and older albums are also given reissues, sometimes on audiophile-grade vinyl
Question: What are the things that are necessary for this process to function?The development of quadraphonic records was announced in 1971. These recorded four separate sound signals. This was achieved on the two stereo channels by electronic matrixing, where the additional channels were combined into the main signal. When the records were played, phase-detection circuits in the amplifiers were able to decode the signals into four separate channels. There were two main systems of matrixed quadraphonic records produced, confusingly named SQ (by CBS) and QS (by Sansui). They proved commercially unsuccessful, but were an important precursor to later surround-sound systems, as seen in SACD and home cinema today.

Answer:phase-detection circuits in the amplifiers
Question: Why are quadraphonic records named as such?The development of quadraphonic records was announced in 1971. These recorded four separate sound signals. This was achieved on the two stereo channels by electronic matrixing, where the additional channels were combined into the main signal. When the records were played, phase-detection circuits in the amplifiers were able to decode the signals into four separate channels. There were two main systems of matrixed quadraphonic records produced, confusingly named SQ (by CBS) and QS (by Sansui). They proved commercially unsuccessful, but were an important precursor to later surround-sound systems, as seen in SACD and home cinema today.

Answer:four separate sound signals
Question: What did quadraphonic records create a market for?The development of quadraphonic records was announced in 1971. These recorded four separate sound signals. This was achieved on the two stereo channels by electronic matrixing, where the additional channels were combined into the main signal. When the records were played, phase-detection circuits in the amplifiers were able to decode the signals into four separate channels. There were two main systems of matrixed quadraphonic records produced, confusingly named SQ (by CBS) and QS (by Sansui). They proved commercially unsuccessful, but were an important precursor to later surround-sound systems, as seen in SACD and home cinema today.

Answer:home cinema
Question: Which, between the SACD and the SQ, is the most modern?The development of quadraphonic records was announced in 1971. These recorded four separate sound signals. This was achieved on the two stereo channels by electronic matrixing, where the additional channels were combined into the main signal. When the records were played, phase-detection circuits in the amplifiers were able to decode the signals into four separate channels. There were two main systems of matrixed quadraphonic records produced, confusingly named SQ (by CBS) and QS (by Sansui). They proved commercially unsuccessful, but were an important precursor to later surround-sound systems, as seen in SACD and home cinema today.

Answer:SACD
Question: Why were quadraphonic records called by that name?The development of quadraphonic records was announced in 1971. These recorded four separate sound signals. This was achieved on the two stereo channels by electronic matrixing, where the additional channels were combined into the main signal. When the records were played, phase-detection circuits in the amplifiers were able to decode the signals into four separate channels. There were two main systems of matrixed quadraphonic records produced, confusingly named SQ (by CBS) and QS (by Sansui). They proved commercially unsuccessful, but were an important precursor to later surround-sound systems, as seen in SACD and home cinema today.

Answer:four separate sound signals
Question: What method pioneered the movement forward for sound systems?The development of quadraphonic records was announced in 1971. These recorded four separate sound signals. This was achieved on the two stereo channels by electronic matrixing, where the additional channels were combined into the main signal. When the records were played, phase-detection circuits in the amplifiers were able to decode the signals into four separate channels. There were two main systems of matrixed quadraphonic records produced, confusingly named SQ (by CBS) and QS (by Sansui). They proved commercially unsuccessful, but were an important precursor to later surround-sound systems, as seen in SACD and home cinema today.

Answer:This was achieved on the two stereo channels by electronic matrixing, where the additional channels were combined into the main signal
Question: What is the main point of the passage?The development of quadraphonic records was announced in 1971. These recorded four separate sound signals. This was achieved on the two stereo channels by electronic matrixing, where the additional channels were combined into the main signal. When the records were played, phase-detection circuits in the amplifiers were able to decode the signals into four separate channels. There were two main systems of matrixed quadraphonic records produced, confusingly named SQ (by CBS) and QS (by Sansui). They proved commercially unsuccessful, but were an important precursor to later surround-sound systems, as seen in SACD and home cinema today.

Answer:proved commercially unsuccessful, but were an important precursor to later surround-sound systems
Question: What, between SACD and QS, was released first?The development of quadraphonic records was announced in 1971. These recorded four separate sound signals. This was achieved on the two stereo channels by electronic matrixing, where the additional channels were combined into the main signal. When the records were played, phase-detection circuits in the amplifiers were able to decode the signals into four separate channels. There were two main systems of matrixed quadraphonic records produced, confusingly named SQ (by CBS) and QS (by Sansui). They proved commercially unsuccessful, but were an important precursor to later surround-sound systems, as seen in SACD and home cinema today.

Answer:QS
Question: How many types of quadraphonic record systems went into widespread use?The development of quadraphonic records was announced in 1971. These recorded four separate sound signals. This was achieved on the two stereo channels by electronic matrixing, where the additional channels were combined into the main signal. When the records were played, phase-detection circuits in the amplifiers were able to decode the signals into four separate channels. There were two main systems of matrixed quadraphonic records produced, confusingly named SQ (by CBS) and QS (by Sansui). They proved commercially unsuccessful, but were an important precursor to later surround-sound systems, as seen in SACD and home cinema today.

Answer:two
Question: What, between SACD and SQ, was released first?The development of quadraphonic records was announced in 1971. These recorded four separate sound signals. This was achieved on the two stereo channels by electronic matrixing, where the additional channels were combined into the main signal. When the records were played, phase-detection circuits in the amplifiers were able to decode the signals into four separate channels. There were two main systems of matrixed quadraphonic records produced, confusingly named SQ (by CBS) and QS (by Sansui). They proved commercially unsuccessful, but were an important precursor to later surround-sound systems, as seen in SACD and home cinema today.

Answer:SQ
Question: What was another name that could of been used for a moving coil microphone?Eventually, when it was more common for electric recordings to be played back electrically in the 1930s and 1940s, the overall tone was much like listening to a radio of the era. Magnetic pickups became more common and were better designed as time went on, making it possible to improve the damping of spurious resonances. Crystal pickups were also introduced as lower cost alternatives. The dynamic or moving coil microphone was introduced around 1930 and the velocity or ribbon microphone in 1932. Both of these high quality microphones became widespread in motion picture, radio, recording, and public address applications.

Answer:dynamic
Question: What drove microphone design in the 1940's?Eventually, when it was more common for electric recordings to be played back electrically in the 1930s and 1940s, the overall tone was much like listening to a radio of the era. Magnetic pickups became more common and were better designed as time went on, making it possible to improve the damping of spurious resonances. Crystal pickups were also introduced as lower cost alternatives. The dynamic or moving coil microphone was introduced around 1930 and the velocity or ribbon microphone in 1932. Both of these high quality microphones became widespread in motion picture, radio, recording, and public address applications.

Answer:lower cost alternatives
Question: what type of recording device is mentioned last?Eventually, when it was more common for electric recordings to be played back electrically in the 1930s and 1940s, the overall tone was much like listening to a radio of the era. Magnetic pickups became more common and were better designed as time went on, making it possible to improve the damping of spurious resonances. Crystal pickups were also introduced as lower cost alternatives. The dynamic or moving coil microphone was introduced around 1930 and the velocity or ribbon microphone in 1932. Both of these high quality microphones became widespread in motion picture, radio, recording, and public address applications.

Answer:high quality microphones
Question: what machine is mentioned first?Eventually, when it was more common for electric recordings to be played back electrically in the 1930s and 1940s, the overall tone was much like listening to a radio of the era. Magnetic pickups became more common and were better designed as time went on, making it possible to improve the damping of spurious resonances. Crystal pickups were also introduced as lower cost alternatives. The dynamic or moving coil microphone was introduced around 1930 and the velocity or ribbon microphone in 1932. Both of these high quality microphones became widespread in motion picture, radio, recording, and public address applications.

Answer:radio
Question: what period in time is mentioned second to last?Eventually, when it was more common for electric recordings to be played back electrically in the 1930s and 1940s, the overall tone was much like listening to a radio of the era. Magnetic pickups became more common and were better designed as time went on, making it possible to improve the damping of spurious resonances. Crystal pickups were also introduced as lower cost alternatives. The dynamic or moving coil microphone was introduced around 1930 and the velocity or ribbon microphone in 1932. Both of these high quality microphones became widespread in motion picture, radio, recording, and public address applications.

Answer:1930
Question: What was common function of electric recordings?Eventually, when it was more common for electric recordings to be played back electrically in the 1930s and 1940s, the overall tone was much like listening to a radio of the era. Magnetic pickups became more common and were better designed as time went on, making it possible to improve the damping of spurious resonances. Crystal pickups were also introduced as lower cost alternatives. The dynamic or moving coil microphone was introduced around 1930 and the velocity or ribbon microphone in 1932. Both of these high quality microphones became widespread in motion picture, radio, recording, and public address applications.

Answer:to be played back electrically
Question: What is crystal pickups an alternative to?Eventually, when it was more common for electric recordings to be played back electrically in the 1930s and 1940s, the overall tone was much like listening to a radio of the era. Magnetic pickups became more common and were better designed as time went on, making it possible to improve the damping of spurious resonances. Crystal pickups were also introduced as lower cost alternatives. The dynamic or moving coil microphone was introduced around 1930 and the velocity or ribbon microphone in 1932. Both of these high quality microphones became widespread in motion picture, radio, recording, and public address applications.

Answer:Magnetic pickups
Question: What did someone do to save a recording for later in the 1940's?Eventually, when it was more common for electric recordings to be played back electrically in the 1930s and 1940s, the overall tone was much like listening to a radio of the era. Magnetic pickups became more common and were better designed as time went on, making it possible to improve the damping of spurious resonances. Crystal pickups were also introduced as lower cost alternatives. The dynamic or moving coil microphone was introduced around 1930 and the velocity or ribbon microphone in 1932. Both of these high quality microphones became widespread in motion picture, radio, recording, and public address applications.

Answer:electric recordings
Question: what was the last use of microphones mentioned?Eventually, when it was more common for electric recordings to be played back electrically in the 1930s and 1940s, the overall tone was much like listening to a radio of the era. Magnetic pickups became more common and were better designed as time went on, making it possible to improve the damping of spurious resonances. Crystal pickups were also introduced as lower cost alternatives. The dynamic or moving coil microphone was introduced around 1930 and the velocity or ribbon microphone in 1932. Both of these high quality microphones became widespread in motion picture, radio, recording, and public address applications.

Answer:public address applications
Question: How would someone save music for later in the 1940's?Eventually, when it was more common for electric recordings to be played back electrically in the 1930s and 1940s, the overall tone was much like listening to a radio of the era. Magnetic pickups became more common and were better designed as time went on, making it possible to improve the damping of spurious resonances. Crystal pickups were also introduced as lower cost alternatives. The dynamic or moving coil microphone was introduced around 1930 and the velocity or ribbon microphone in 1932. Both of these high quality microphones became widespread in motion picture, radio, recording, and public address applications.

Answer:electric recordings
Question: Listening to a radio of the era was similar to what?Eventually, when it was more common for electric recordings to be played back electrically in the 1930s and 1940s, the overall tone was much like listening to a radio of the era. Magnetic pickups became more common and were better designed as time went on, making it possible to improve the damping of spurious resonances. Crystal pickups were also introduced as lower cost alternatives. The dynamic or moving coil microphone was introduced around 1930 and the velocity or ribbon microphone in 1932. Both of these high quality microphones became widespread in motion picture, radio, recording, and public address applications.

Answer:electric recordings to be played back electrically
Question: The improvement of the damping of spurious resonances can be attributed to what?Eventually, when it was more common for electric recordings to be played back electrically in the 1930s and 1940s, the overall tone was much like listening to a radio of the era. Magnetic pickups became more common and were better designed as time went on, making it possible to improve the damping of spurious resonances. Crystal pickups were also introduced as lower cost alternatives. The dynamic or moving coil microphone was introduced around 1930 and the velocity or ribbon microphone in 1932. Both of these high quality microphones became widespread in motion picture, radio, recording, and public address applications.

Answer:Magnetic pickups became more common and were better designed
Question: what period in time is mentioned last?Eventually, when it was more common for electric recordings to be played back electrically in the 1930s and 1940s, the overall tone was much like listening to a radio of the era. Magnetic pickups became more common and were better designed as time went on, making it possible to improve the damping of spurious resonances. Crystal pickups were also introduced as lower cost alternatives. The dynamic or moving coil microphone was introduced around 1930 and the velocity or ribbon microphone in 1932. Both of these high quality microphones became widespread in motion picture, radio, recording, and public address applications.

Answer:1932
Question: What was the exception to the standard number?In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), which was also the speed at which a strobe disc with 77 lines would "stand still" in 50 Hz light (92 lines for 60 Hz). After World War II these records were retroactively known as 78s, to distinguish them from other newer disc record formats. Earlier they were just called records, or when there was a need to distinguish them from cylinders, disc records.

Answer:parts of the world that used 50 Hz current, the standard was 77.92 rpm
Question: What was an indication of the time period of the standards?In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), which was also the speed at which a strobe disc with 77 lines would "stand still" in 50 Hz light (92 lines for 60 Hz). After World War II these records were retroactively known as 78s, to distinguish them from other newer disc record formats. Earlier they were just called records, or when there was a need to distinguish them from cylinders, disc records.

Answer:After World War II these records were retroactively known as 78s
Question: What made a 78 spin in 1925?In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), which was also the speed at which a strobe disc with 77 lines would "stand still" in 50 Hz light (92 lines for 60 Hz). After World War II these records were retroactively known as 78s, to distinguish them from other newer disc record formats. Earlier they were just called records, or when there was a need to distinguish them from cylinders, disc records.

Answer:electrically powered synchronous turntable motor
Question: What caused the revolutions?In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), which was also the speed at which a strobe disc with 77 lines would "stand still" in 50 Hz light (92 lines for 60 Hz). After World War II these records were retroactively known as 78s, to distinguish them from other newer disc record formats. Earlier they were just called records, or when there was a need to distinguish them from cylinders, disc records.

Answer:motor
Question: What gear ratio would be used in parts of the world using 60 Hz?In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), which was also the speed at which a strobe disc with 77 lines would "stand still" in 50 Hz light (92 lines for 60 Hz). After World War II these records were retroactively known as 78s, to distinguish them from other newer disc record formats. Earlier they were just called records, or when there was a need to distinguish them from cylinders, disc records.

Answer:46:1 gear ratio
Question: How did the playing system operate?In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), which was also the speed at which a strobe disc with 77 lines would "stand still" in 50 Hz light (92 lines for 60 Hz). After World War II these records were retroactively known as 78s, to distinguish them from other newer disc record formats. Earlier they were just called records, or when there was a need to distinguish them from cylinders, disc records.

Answer:electrically
Question: What does HZ measure?In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), which was also the speed at which a strobe disc with 77 lines would "stand still" in 50 Hz light (92 lines for 60 Hz). After World War II these records were retroactively known as 78s, to distinguish them from other newer disc record formats. Earlier they were just called records, or when there was a need to distinguish them from cylinders, disc records.

Answer:light
Question: How many lines would you need to "stand still" if you were using an rpm of 78.26In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), which was also the speed at which a strobe disc with 77 lines would "stand still" in 50 Hz light (92 lines for 60 Hz). After World War II these records were retroactively known as 78s, to distinguish them from other newer disc record formats. Earlier they were just called records, or when there was a need to distinguish them from cylinders, disc records.

Answer:92 lines
Question: The initial standard was determined in a time before what?In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), which was also the speed at which a strobe disc with 77 lines would "stand still" in 50 Hz light (92 lines for 60 Hz). After World War II these records were retroactively known as 78s, to distinguish them from other newer disc record formats. Earlier they were just called records, or when there was a need to distinguish them from cylinders, disc records.

Answer:World War II
Question: How were the rpms originally determined?In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), which was also the speed at which a strobe disc with 77 lines would "stand still" in 50 Hz light (92 lines for 60 Hz). After World War II these records were retroactively known as 78s, to distinguish them from other newer disc record formats. Earlier they were just called records, or when there was a need to distinguish them from cylinders, disc records.

Answer:the electrically powered synchronous turntable motor
Question: What is being classified?In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), which was also the speed at which a strobe disc with 77 lines would "stand still" in 50 Hz light (92 lines for 60 Hz). After World War II these records were retroactively known as 78s, to distinguish them from other newer disc record formats. Earlier they were just called records, or when there was a need to distinguish them from cylinders, disc records.

Answer:records
Question: What effect is displayed on a disc with 77 lines, spinning at 77.92 rpm, when exposed to 50 Hz light?In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), which was also the speed at which a strobe disc with 77 lines would "stand still" in 50 Hz light (92 lines for 60 Hz). After World War II these records were retroactively known as 78s, to distinguish them from other newer disc record formats. Earlier they were just called records, or when there was a need to distinguish them from cylinders, disc records.

Answer:would "stand still"
Question: How do we make the groove on the record smaller?Due to recording mastering and manufacturing limitations, both high and low frequencies were removed from the first recorded signals by various formulae. With low frequencies, the stylus must swing a long way from side to side, requiring the groove to be wide, taking up more space and limiting the playing time of the record. At high frequencies, hiss, pops, and ticks are significant. These problems can be reduced by using equalization to an agreed standard. During recording the amplitude of low frequencies is reduced, thus reducing the groove width required, and the amplitude at high frequencies is increased. The playback equipment boosts bass and cuts treble so as to restore the tonal balance in the original signal; this also reduces the high frequency noise. Thus more music will fit on the record, and noise is reduced.

Answer:the amplitude of low frequencies is reduced
Question: What happens when the groove of the record is wider?Due to recording mastering and manufacturing limitations, both high and low frequencies were removed from the first recorded signals by various formulae. With low frequencies, the stylus must swing a long way from side to side, requiring the groove to be wide, taking up more space and limiting the playing time of the record. At high frequencies, hiss, pops, and ticks are significant. These problems can be reduced by using equalization to an agreed standard. During recording the amplitude of low frequencies is reduced, thus reducing the groove width required, and the amplitude at high frequencies is increased. The playback equipment boosts bass and cuts treble so as to restore the tonal balance in the original signal; this also reduces the high frequency noise. Thus more music will fit on the record, and noise is reduced.

Answer:At high frequencies, hiss, pops, and ticks are significant
Question: What effect does boosting bass and cutting treble have on the original signal?Due to recording mastering and manufacturing limitations, both high and low frequencies were removed from the first recorded signals by various formulae. With low frequencies, the stylus must swing a long way from side to side, requiring the groove to be wide, taking up more space and limiting the playing time of the record. At high frequencies, hiss, pops, and ticks are significant. These problems can be reduced by using equalization to an agreed standard. During recording the amplitude of low frequencies is reduced, thus reducing the groove width required, and the amplitude at high frequencies is increased. The playback equipment boosts bass and cuts treble so as to restore the tonal balance in the original signal; this also reduces the high frequency noise. Thus more music will fit on the record, and noise is reduced.

Answer:restore the tonal balance
Question: How can we fit more music onto a record?Due to recording mastering and manufacturing limitations, both high and low frequencies were removed from the first recorded signals by various formulae. With low frequencies, the stylus must swing a long way from side to side, requiring the groove to be wide, taking up more space and limiting the playing time of the record. At high frequencies, hiss, pops, and ticks are significant. These problems can be reduced by using equalization to an agreed standard. During recording the amplitude of low frequencies is reduced, thus reducing the groove width required, and the amplitude at high frequencies is increased. The playback equipment boosts bass and cuts treble so as to restore the tonal balance in the original signal; this also reduces the high frequency noise. Thus more music will fit on the record, and noise is reduced.

Answer:reduces the high frequency noise
Question: Unwanted sounds that are unpleasant, loud, or interfere with desired sounds are generally called?Due to recording mastering and manufacturing limitations, both high and low frequencies were removed from the first recorded signals by various formulae. With low frequencies, the stylus must swing a long way from side to side, requiring the groove to be wide, taking up more space and limiting the playing time of the record. At high frequencies, hiss, pops, and ticks are significant. These problems can be reduced by using equalization to an agreed standard. During recording the amplitude of low frequencies is reduced, thus reducing the groove width required, and the amplitude at high frequencies is increased. The playback equipment boosts bass and cuts treble so as to restore the tonal balance in the original signal; this also reduces the high frequency noise. Thus more music will fit on the record, and noise is reduced.

Answer:noise