derek-thomas/squad-v1.1-t5-question-generation huggingface dataset:
A more sophisticated MP3 encoder can produce variable bitrate audio. MPEG audio may use bitrate switching on a per-frame basis, but only layer III decoders must support it. VBR is used when the goal is to achieve a fixed level of quality. The final file size of a VBR encoding is less predictable than with constant bitrate. Average bitrate is VBR implemented as a compromise between the two: the bitrate is allowed to vary for more consistent quality, but is controlled to remain near an average value chosen by the user, for predictable file sizes. Although an MP3 decoder must support VBR to be standards compliant, historically some decoders have bugs with VBR decoding, particularly before VBR encoders became widespread.

Question: What kind of audio can a sophisticated MP3 encoder produce? Question: Which type of decoder must support bitrate switching on a per-frame basis? Question: Using VBR instead of a constant bit rate encoding makes which part of encoding less predictable? Question: What do encoders use when the goal is to achieve a fixed level of quality? Question: An average bit rate is used when who choses an average value for the encoder to use?
Layer III audio can also use a "bit reservoir", a partially full frame's ability to hold part of the next frame's audio data, allowing temporary changes in effective bitrate, even in a constant bitrate stream. Internal handling of the bit reservoir increases encoding delay.[citation needed]

Question: What kind of audio is required to use a bit reservoir? Question: A partially full frame's ability to have part of the next frame's audio data is referred to as what? Question: A bit reservoir allows for what kind of changes in effective bit rate? Question: A large benefit of a bit reservoir is that you can use it even while encoding what kind of stream? Question: What is a possible result of handling the bit reservoir?
There is no scale factor band 21 (sfb21) for frequencies above approx 16 kHz, forcing the encoder to choose between less accurate representation in band 21 or less efficient storage in all bands below band 21, the latter resulting in wasted bitrate in VBR encoding.

Question: What can scale factor band 21 be shortened to? Question: What is the maximum frequency that scale factor band 21 can go up to? Question: The encoder has to choose between less acurate representation in band 21 or which factor in all bands below band 21? Question: What does less efficient storage result in for VBR encoding?
A "tag" in an audio file is a section of the file that contains metadata such as the title, artist, album, track number or other information about the file's contents. The MP3 standards do not define tag formats for MP3 files, nor is there a standard container format that would support metadata and obviate the need for tags.

Question: What is a section of a file that contains metadeta referred to as? Question: What else can metadeta contain other than the title, artist or track  number? Question: What do MP3 standards not define? Question: What would be needed to support metadata and obviate the need for tags?
However, several de facto standards for tag formats exist. As of 2010, the most widespread are ID3v1 and ID3v2, and the more recently introduced APEv2. These tags are normally embedded at the beginning or end of MP3 files, separate from the actual MP3 frame data. MP3 decoders either extract information from the tags, or just treat them as ignorable, non-MP3 junk data.

Question: Other than the ID3v1, which similar standard format for tag exists? Question: What is the most recently introduced standard for tag formatting? Question: What is the second place in a file that tags are normally stored, with the first being at the beginning? Question: What is important to note about where the tags are stored? Question: If the MP3 decoders do not extract information from the tags, what do they do to them?
ReplayGain is a standard for measuring and storing the loudness of an MP3 file (audio normalization) in its metadata tag, enabling a ReplayGain-compliant player to automatically adjust the overall playback volume for each file. MP3Gain may be used to reversibly modify files based on ReplayGain measurements so that adjusted playback can be achieved on players without ReplayGain capability.

Question: What is the name given to the standard for measure and storing the loudness of an MP3 file? Question: What is measuring and storing loudness of an MP3 file also known as? Question: What does the standard ReplayGain allow a player to automatically adjust? Question: What program can be used to modify files based on ReplayGain measurements? Question: MP3Gain is important because it allows players without what capability to have adjusted playback?
The basic MP3 decoding and encoding technology is patent-free in the European Union, all patents having expired there. In the United States, the technology will be substantially patent-free on 31 December 2017 (see below). The majority of MP3 patents expired in the US between 2007 and 2015.

Question: Where is the basic MP3 decoding and technology patent free? Question: What happened to the patents that caused them to be patent-free? Question: When will the technology be patent - free in the United States? Question: Between which years did most of the MP3 patents in the US expire?
In the past, many organizations have claimed ownership of patents related to MP3 decoding or encoding. These claims led to a number of legal threats and actions from a variety of sources. As a result, uncertainty about which patents must be licensed in order to create MP3 products without committing patent infringement in countries that allow software patents was a common feature of the early stages of adoption of the technology.

Question: What has many organizations claiming ownership of patents related to aspects of MP3 led to? Question: Legal threats and confusion made it difficult to ensure what about patents regarding MP3 products? Question: What was the danger of not correctly patenting products? Question: At what stage of the technology were these problems prevalent?
The initial near-complete MPEG-1 standard (parts 1, 2 and 3) was publicly available on 6 December 1991 as ISO CD 11172. In most countries, patents cannot be filed after prior art has been made public, and patents expire 20 years after the initial filing date, which can be up to 12 months later for filings in other countries. As a result, patents required to implement MP3 expired in most countries by December 2012, 21 years after the publication of ISO CD 11172.

Question: What became publicly available on 6 December 1991? Question: When can patents not be filed in most countries? Question: How long does it take for patents to expire after being filed? Question: How long can it take for patents to be approved after initially being filed? Question: When did patents required to implement MP3 expire in most countries?
An exception is the United States, where patents filed prior to 8 June 1995 expire 17 years after the publication date of the patent, but application extensions make it possible for a patent to issue much later than normally expected (see submarine patents). The various MP3-related patents expire on dates ranging from 2007 to 2017 in the U.S. Patents filed for anything disclosed in ISO CD 11172 a year or more after its publication are questionable. If only the known MP3 patents filed by December 1992 are considered, then MP3 decoding has been patent-free in the US since 22 September 2015 when U.S. Patent 5,812,672 expired which had a PCT filing in October 1992. If the longest-running patent mentioned in the aforementioned references is taken as a measure, then the MP3 technology will be patent-free in the United States on 30 December 2017 when U.S. Patent 5,703,999, held by the Fraunhofer-Gesellschaft and administered by Technicolor, expires.

Question: How long does it take for patents to expire in the United States? Question: A patent issue much later than normally expected can be referred to as what? Question: What year is the latest that MP3 related patents will expire on in the United States? Question: Who holds the longest running MP3 patent in the United States? Question: Who administered the longest running MP3 patent in the United States?
Technicolor (formerly called Thomson Consumer Electronics) claims to control MP3 licensing of the Layer 3 patents in many countries, including the United States, Japan, Canada and EU countries. Technicolor has been actively enforcing these patents.

Question: What was Technicolor's previous name? Question: What patent does Technicolor claim to control? Question: What are Technicolor constantly in the process of doing?
In September 1998, the Fraunhofer Institute sent a letter to several developers of MP3 software stating that a license was required to "distribute and/or sell decoders and/or encoders". The letter claimed that unlicensed products "infringe the patent rights of Fraunhofer and Thomson. To make, sell and/or distribute products using the [MPEG Layer-3] standard and thus our patents, you need to obtain a license under these patents from us."

Question: When did the Fraunhofer institute send out a letter? Question: What did the letter claim would be required to distribute and/or sell decoders and/or encoders? Question: What does selling unlicensed products mean that the seller is doing? Question: What can products not use if they want to avoid infringing on patent rights?
Sisvel S.p.A. and its U.S. subsidiary Audio MPEG, Inc. previously sued Thomson for patent infringement on MP3 technology, but those disputes were resolved in November 2005 with Sisvel granting Thomson a license to their patents. Motorola followed soon after, and signed with Sisvel to license MP3-related patents in December 2005. Except for three patents, the US patents administered by Sisvel had all expired in 2015, however (the exceptions are: U.S. Patent 5,878,080, expires February 2017, U.S. Patent 5,850,456, expires February 2017 and U.S. Patent 5,960,037, expires 9. April 2017.

Question: Who initially sued to protect their patent rights? Question: Who was sued for patent infringement on MP3 technology? Question: What did Sisvel grant Thomson to end the lawsuit? Question: When did the majority of the patents held by Sisvel expire? Question: When does the last patent held by Sisvel expire?
In September 2006, German officials seized MP3 players from SanDisk's booth at the IFA show in Berlin after an Italian patents firm won an injunction on behalf of Sisvel against SanDisk in a dispute over licensing rights. The injunction was later reversed by a Berlin judge, but that reversal was in turn blocked the same day by another judge from the same court, "bringing the Patent Wild West to Germany" in the words of one commentator.

Question: What did German officials seize from SanDisk on September 2006? Question: At which show did SanDisk have their assets seized? Question: Which company was the Italian patents firm representing? Question: What happened after the injunction was successful? Question: The continuous back and forth regarding the decisions on patents was referred to as what?
In February 2007, Texas MP3 Technologies sued Apple, Samsung Electronics and Sandisk in eastern Texas federal court, claiming infringement of a portable MP3 player patent that Texas MP3 said it had been assigned. Apple, Samsung, and Sandisk all settled the claims against them in January 2009.

Question: Who sued Apple, Samsung Electronics and Sandisk in 2007? Question: Which court did the lawsuit take place in? Question: What was the claim that the lawsuit was based on? Question: What action did the three companies being sued take? Question: What year did the lawsuits end?
Alcatel-Lucent has asserted several MP3 coding and compression patents, allegedly inherited from AT&T-Bell Labs, in litigation of its own. In November 2006, before the companies' merger, Alcatel sued Microsoft for allegedly infringing seven patents. On 23 February 2007, a San Diego jury awarded Alcatel-Lucent US $1.52 billion in damages for infringement of two of them. The court subsequently tossed the award, however, finding that one patent had not been infringed and that the other was not even owned by Alcatel-Lucent; it was co-owned by AT&T and Fraunhofer, who had licensed it to Microsoft, the judge ruled. That defense judgment was upheld on appeal in 2008. See Alcatel-Lucent v. Microsoft for more information.

Question: Which company allegedly inherited MP3 patents from AT&T-Bell LAbs? Question: What kind of patents were allegedly inherited? Question: How many patents did Alcatel claim Microsoft infringed on? Question: How much money was awarded to Alcatel by a San Diego jury? Question: What subsequently happened after Alcatel was awarded damages?
Other lossy formats exist. Among these, mp3PRO, AAC, and MP2 are all members of the same technological family as MP3 and depend on roughly similar psychoacoustic models. The Fraunhofer Gesellschaft owns many of the basic patents underlying these formats as well, with others held by Dolby Labs, Sony, Thomson Consumer Electronics, and AT&T.

Question: AAC, mp3PRO and MP2 are all members of the same technological family as which other lossy format? Question: What model type do all of the lossy formats roughly depend on? Question: Which company owns many of the patents that cover the other formats?
There are also open compression formats like Opus and Vorbis that are available free of charge and without any known patent restrictions. Some of the newer audio compression formats, such as AAC, WMA Pro and Vorbis, are free of some limitations inherent to the MP3 format that cannot be overcome by any MP3 encoder.

Question: Opus and Vorbis are two explans of what kind of compression format? Question: How can one obtain an open compression format such as Opus or Vorbis? Question: Being open formats means that Opus and Vorbis can be used without what? Question: What are some benefits to some of the newer audio compression formats when compared to MP3?
Besides lossy compression methods, lossless formats are a significant alternative to MP3 because they provide unaltered audio content, though with an increased file size compared to lossy compression. Lossless formats include FLAC (Free Lossless Audio Codec), Apple Lossless and many others.

Question: What is a significant alternative to MP3? Question: What can lossless formats provide? Question: What is the downside of using a lossless format? Question: What is another example of a lossless format other than Apple Lossless? Question: What does FLAC stand for?
House music is a genre of electronic dance music that originated in Chicago in the early 1980s. It was initially popularized in Chicago, circa 1984. House music quickly spread to other American cities such as Detroit, New York City, and Newark – all of which developed their own regional scenes. In the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. Early house music commercial success in Europe saw songs such as "Pump Up The Volume" by MARRS (1987), "House Nation" by House Master Boyz and the Rude Boy of House (1987), "Theme from S'Express" by S'Express (1988) and "Doctorin' the House" by Coldcut (1988) in the pop charts. Since the early to mid-1990s, house music has been infused in mainstream pop and dance music worldwide.

Question: What genre does House music fall into? Question: What city did House music originate from? Question: What decade did House music first develop? Question: What year was House music first popularized? Question: What song by MARRS was an early House hit in 1987?
Early house music was generally dance-based music characterized by repetitive 4/4 beats, rhythms mainly provided by drum machines, off-beat hi-hat cymbals, and synthesized basslines. While house displayed several characteristics similar to disco music, it was more electronic and minimalistic, and the repetitive rhythm of house was more important than the song itself. House music in the 2010s, while keeping several of these core elements, notably the prominent kick drum on every beat, varies widely in style and influence, ranging from the soulful and atmospheric deep house to the more minimalistic microhouse. House music has also fused with several other genres creating fusion subgenres, such as euro house, tech house, electro house and jump house.

Question: What type of music is House based on? Question: House music is characterized by what type of beats? Question: What are rhythms provided by in House music? Question: What are some differences between House and Disco music? Question: What are some subgenres of House music?
In the late 1980s, many local Chicago house music artists suddenly found themselves presented with major label deals. House music proved to be a commercially successful genre and a more mainstream pop-based variation grew increasingly popular. Artists and groups such as Madonna, Janet Jackson, Paula Abdul, Aretha Franklin, Bananarama, Diana Ross, Tina Turner, Whitney Houston, Steps, Kylie Minogue, Bjork, and C+C Music Factoryhave all incorporated the genre into some of their work. After enjoying significant success in the early to mid-90s, house music grew even larger during the second wave of progressive house (1999–2001). The genre has remained popular and fused into other popular subgenres, for example, G-house, Deep House, Tech House and Bass House. As of 2015, house music remains extremely popular in both clubs and in the mainstream pop scene while retaining a foothold on underground scenes across the globe.[citation needed]

Question: What variation of house music was produced by artists such as Madonna and Kylie Minogue? Question: When was the second wave of progressive house? Question: What are some popular subgenres of House? Question: where is house music extremely popular?
Various disco songs incorporated sounds produced with synthesizers and drum machines, and some compositions were entirely electronic; examples include Giorgio Moroder's late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977, Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor (1979), and several early 1980s disco-pop productions by the Hi-NRG group Lime.

Question: What instruments did disco songs incorporate from house music? Question: who produced Donna Summer's hit single "I Feel Love"? Question: What year did Cerrone's "Supernature" get released? Question: What year was solid state survivor released? Question: what sort of music did Hi-NRG group Lime produce?
Soul and disco influenced house music, plus mixing and editing techniques earlier explored by disco, garage music and post-disco DJs, producers, and audio engineers such as Walter Gibbons, Tom Moulton, Jim Burgess, Larry Levan, Ron Hardy, M & M, and others who produced longer, more repetitive, and percussive arrangements of existing disco recordings. Early house producers such as Frankie Knuckles created similar compositions from scratch, using samplers, synthesizers, sequencers, and drum machines.

Question: What influenced House music? Question: What type of producer was Frankie Knuckles? Question: what did Frankie Knuckles use to create his compositions?
The electronic instrumentation and minimal arrangement of Charanjit Singh's Synthesizing: Ten Ragas to a Disco Beat (1982), an album of Indian ragas performed in a disco style, anticipated the sounds of acid house music, but it is not known to have had any influence on the genre prior to the album's rediscovery in the 21st century.

Question: What sort of arrangement did Charanjit Singh use on his 1982 album? Question: What was the name of Charanjit Singh's 1982 album? Question: What year was synthesizing: ten ragas to a disco beat released? Question: What did Singh's album contain?
Rachel Cain, co-founder of an influential Trax Records, was previously involved in the burgeoning punk scene and cites industrial and post-punk record store Wax Trax! Records as an important connection between the ever-changing underground sounds of Chicago. As most proto-house DJs were primarily stuck to playing their conventional ensemble of dance records, Frankie Knuckles and Ron Hardy, two influential pioneers of house music, were known for their out-of-bounds behavior. The former, credited as "the Godfather of House," worked primarily with early disco music with a hint of new and different music (whether it was post-punk or post-disco) but still enjoying a variety of music, while the latter produced unconventional DIY mixtapes which he later played straight-on in the music club Muzic Box, boiling with raw energy. Marshall Jefferson, who would later appear with the Chicago house classic "Move Your Body (The House-Music Anthem)," (originally released on Chicago-based Trax Records) got involved in house music after hearing Ron Hardy's music in Muzic Box.

Question: Who is Rachel Cain? Question: Who were Frankie Knuckles and ron hardy? Question: what was the nickname of frankie knuckles? Question: marshall jefferson got involved in house music after hearing whose music? Question: what was ron hardy's music released in?
In the early 1980s, Chicago radio jocks The Hot Mix 5, and club DJs Ron Hardy and Frankie Knuckles played various styles of dance music, including older disco records (mostly Philly disco and Salsoul tracks), electro funk tracks by artists such as Afrika Bambaataa, newer Italo disco, B-Boy hip hop music by Man Parrish, Jellybean Benitez, Arthur Baker, and John Robie, and electronic pop music by Kraftwerk and Yellow Magic Orchestra. Some made and played their own edits of their favorite songs on reel-to-reel tape, and sometimes mixed in effects, drum machines, and other rhythmic electronic instrumentation. In this era,

Question: who were the chicago radio jocks that played dance music in the early 1980s? Question: what style of music did afrika bambaataa play? Question: what style of music did man parrish play? Question: what style of music did kraftwerk play? Question: how did producers sometimes make edits of house music?
The hypnotic electronic dance song "On and On", produced in 1984 by Chicago DJ Jesse Saunders and co-written by Vince Lawrence, had elements that became staples of the early house sound, such as the Roland TB-303 bass synthesizer and minimal vocals as well as a Roland (specifically TR-808) drum machine and Korg (specifically Poly-61) synthesizer. It also utilized the bassline from Player One's disco record "Space Invaders" (1979). "On and On" is sometimes cited as the 'first house record', though other examples from around that time, such as J.M. Silk's "Music is the Key" (1985), have also been cited.

Question: where was jesse saunders from? Question: who produced the song "on and on" in 1984? Question: who co-wrote the hit song "on and on" in 1984? Question: what type of bass synthesizer was a staple of the early house sound? Question: when was player one's "space invaders" released?
Starting in 1984, some of these DJs, inspired by Jesse Saunders' success with "On and On", tried their hand at producing and releasing original compositions. These compositions used newly affordable electronic instruments to emulate not just Saunders' song, but the edited, enhanced styles of disco and other dance music they already favored. These homegrown productions were played on Chicago-area radio and in local discothèques catering mainly to African-American and gay audiences. By 1985, although the exact origins of the term are debated, "house music" encompassed these locally produced recordings. Subgenres of house, including deep house and acid house, quickly emerged and gained traction.

Question: when was jesse saunders' "on and on" a hit? Question: what area radio was house music generally played on? Question: what type of audience was early disco and dance catered to? Question: what year was house music first used as a genre? Question: what were two big subgenres of house music?