Question: What did the joint proposal provide?

Answer: the highest coding efficiency

ASPEC was the joint proposal of AT&T Bell Laboratories, Thomson Consumer Electronics, Fraunhofer Society and CNET. <hl> It provided the highest coding efficiency . <hl>

ASPEC was the joint proposal of AT&T Bell Laboratories, Thomson Consumer Electronics, Fraunhofer Society and CNET. It provided <hl> the highest coding efficiency <hl>.

It provided <hl> the highest coding efficiency <hl> .


Question: Other than Thomson Consumer Electronics, Fraunhofer Society and CNET, who else was a part of the joint proposal?

ASPEC was the joint proposal of AT&T Bell Laboratories, Thomson Consumer Electronics, Fraunhofer Society and CNET. It provided the highest coding efficiency.

Answer: AT&T Bell Laboratories

<hl> ASPEC was the joint proposal of AT&T Bell Laboratories , Thomson Consumer Electronics, Fraunhofer Society and CNET. <hl> It provided the highest coding efficiency.

ASPEC was the joint proposal of <hl> AT&T Bell Laboratories <hl>, Thomson Consumer Electronics, Fraunhofer Society and CNET. It provided the highest coding efficiency.

ASPEC was the joint proposal of <hl> AT&T Bell Laboratories <hl> , Thomson Consumer Electronics, Fraunhofer Society and CNET.


Question: What did the working group integrate their ideas with?

Answer: filter bank

<hl> A working group consisting of Leon van de Kerkhof (The Netherlands), Gerhard Stoll (Germany), Leonardo Chiariglione (Italy), Yves-François Dehery (France), Karlheinz Brandenburg (Germany) and James D. Johnston (USA) took ideas from ASPEC, integrated the filter bank from Layer 2, added some of their own ideas and created MP3, which was designed to achieve the same quality at 128 kbit/s as MP2 at 192 kbit/s. <hl>

A working group consisting of Leon van de Kerkhof (The Netherlands), Gerhard Stoll (Germany), Leonardo Chiariglione (Italy), Yves-François Dehery (France), Karlheinz Brandenburg (Germany) and James D. Johnston (USA) took ideas from ASPEC, integrated the <hl> filter bank <hl> from Layer 2, added some of their own ideas and created MP3, which was designed to achieve the same quality at 128 kbit/s as MP2 at 192 kbit/s.


Question: Where was the filter bank taken from?

Answer: Layer 2

<hl> A working group consisting of Leon van de Kerkhof (The Netherlands), Gerhard Stoll (Germany), Leonardo Chiariglione (Italy), Yves-François Dehery (France), Karlheinz Brandenburg (Germany) and James D. Johnston (USA) took ideas from ASPEC, integrated the filter bank from Layer 2 , added some of their own ideas and created MP3, which was designed to achieve the same quality at 128 kbit/s as MP2 at 192 kbit/s. <hl>

A working group consisting of Leon van de Kerkhof (The Netherlands), Gerhard Stoll (Germany), Leonardo Chiariglione (Italy), Yves-François Dehery (France), Karlheinz Brandenburg (Germany) and James D. Johnston (USA) took ideas from ASPEC, integrated the filter bank from <hl> Layer 2 <hl>, added some of their own ideas and created MP3, which was designed to achieve the same quality at 128 kbit/s as MP2 at 192 kbit/s.

A working group consisting of Leon van de Kerkhof (The Netherlands), Gerhard Stoll (Germany), Leonardo Chiariglione (Italy), Yves-François Dehery (France), Karlheinz Brandenburg (Germany) and James D. Johnston (USA) took ideas from ASPEC, integrated the filter bank from <hl> Layer 2 <hl> , added some of their own ideas and created MP3, which was designed to achieve the same quality at 128 kbit/s as MP2 at 192 kbit/s.


Question: What did the working group take ideas from?

Answer: ASPEC

<hl> A working group consisting of Leon van de Kerkhof (The Netherlands), Gerhard Stoll (Germany), Leonardo Chiariglione (Italy), Yves-François Dehery (France), Karlheinz Brandenburg (Germany) and James D. Johnston (USA) took ideas from ASPEC , integrated the filter bank from Layer 2, added some of their own ideas and created MP3, which was designed to achieve the same quality at 128 kbit/s as MP2 at 192 kbit/s. <hl>

A working group consisting of Leon van de Kerkhof (The Netherlands), Gerhard Stoll (Germany), Leonardo Chiariglione (Italy), Yves-François Dehery (France), Karlheinz Brandenburg (Germany) and James D. Johnston (USA) took ideas from <hl> ASPEC <hl>, integrated the filter bank from Layer 2, added some of their own ideas and created MP3, which was designed to achieve the same quality at 128 kbit/s as MP2 at 192 kbit/s.

A working group consisting of Leon van de Kerkhof (The Netherlands), Gerhard Stoll (Germany), Leonardo Chiariglione (Italy), Yves-François Dehery (France), Karlheinz Brandenburg (Germany) and James D. Johnston (USA) took ideas from <hl> ASPEC <hl> , integrated the filter bank from Layer 2, added some of their own ideas and created MP3, which was designed to achieve the same quality at 128 kbit/s as MP2 at 192 kbit/s.


Question: What did the working group eventually create?

Answer: MP3

<hl> A working group consisting of Leon van de Kerkhof (The Netherlands), Gerhard Stoll (Germany), Leonardo Chiariglione (Italy), Yves-François Dehery (France), Karlheinz Brandenburg (Germany) and James D. Johnston (USA) took ideas from ASPEC, integrated the filter bank from Layer 2, added some of their own ideas and created MP3 , which was designed to achieve the same quality at 128 kbit/s as MP2 at 192 kbit/s. <hl>

A working group consisting of Leon van de Kerkhof (The Netherlands), Gerhard Stoll (Germany), Leonardo Chiariglione (Italy), Yves-François Dehery (France), Karlheinz Brandenburg (Germany) and James D. Johnston (USA) took ideas from ASPEC, integrated the filter bank from Layer 2, added some of their own ideas and created <hl> MP3 <hl>, which was designed to achieve the same quality at 128 kbit/s as MP2 at 192 kbit/s.

A working group consisting of Leon van de Kerkhof (The Netherlands), Gerhard Stoll (Germany), Leonardo Chiariglione (Italy), Yves-François Dehery (France), Karlheinz Brandenburg (Germany) and James D. Johnston (USA) took ideas from ASPEC, integrated the filter bank from Layer 2, added some of their own ideas and created <hl> MP3 <hl> , which was designed to achieve the same quality at 128 kbit/s as MP2 at 192 kbit/s.


Question: What quality were they hoping to match at 128 kbit/s?

Answer: MP2 at 192 kbit/s

<hl> A working group consisting of Leon van de Kerkhof (The Netherlands), Gerhard Stoll (Germany), Leonardo Chiariglione (Italy), Yves-François Dehery (France), Karlheinz Brandenburg (Germany) and James D. Johnston (USA) took ideas from ASPEC, integrated the filter bank from Layer 2, added some of their own ideas and created MP3, which was designed to achieve the same quality at 128 kbit/s as MP2 at 192 kbit/s . <hl>

A working group consisting of Leon van de Kerkhof (The Netherlands), Gerhard Stoll (Germany), Leonardo Chiariglione (Italy), Yves-François Dehery (France), Karlheinz Brandenburg (Germany) and James D. Johnston (USA) took ideas from ASPEC, integrated the filter bank from Layer 2, added some of their own ideas and created MP3, which was designed to achieve the same quality at 128 kbit/s as <hl> MP2 at 192 kbit/s <hl>.

A working group consisting of Leon van de Kerkhof (The Netherlands), Gerhard Stoll (Germany), Leonardo Chiariglione (Italy), Yves-François Dehery (France), Karlheinz Brandenburg (Germany) and James D. Johnston (USA) took ideas from ASPEC, integrated the filter bank from Layer 2, added some of their own ideas and created MP3, which was designed to achieve the same quality at 128 kbit/s as <hl> MP2 at 192 kbit/s <hl> .


Question: When were the algorithms approved?

All algorithms for MPEG-1 Audio Layer I, II and III were approved in 1991 and finalized in 1992 as part of MPEG-1, the first standard suite by MPEG, which resulted in the international standard ISO/IEC 11172-3 (a.k.a. MPEG-1 Audio or MPEG-1 Part 3), published in 1993.

Answer: 1991

<hl> All algorithms for MPEG-1 Audio Layer I, II and III were approved in 1991 and finalized in 1992 as part of MPEG-1, the first standard suite by MPEG, which resulted in the international standard ISO/IEC 11172-3 (a.k.a. <hl> MPEG-1 Audio or MPEG-1 Part 3), published in 1993.

All algorithms for MPEG-1 Audio Layer I, II and III were approved in <hl> 1991 <hl> and finalized in 1992 as part of MPEG-1, the first standard suite by MPEG, which resulted in the international standard ISO/IEC 11172-3 (a.k.a. MPEG-1 Audio or MPEG-1 Part 3), published in 1993.


Question: When were the approved algorithms finalized?

Answer: 1992

<hl> All algorithms for MPEG-1 Audio Layer I, II and III were approved in 1991 and finalized in 1992 as part of MPEG-1, the first standard suite by MPEG, which resulted in the international standard ISO/IEC 11172-3 (a.k.a. <hl> MPEG-1 Audio or MPEG-1 Part 3), published in 1993.

All algorithms for MPEG-1 Audio Layer I, II and III were approved in 1991 and finalized in <hl> 1992 <hl> as part of MPEG-1, the first standard suite by MPEG, which resulted in the international standard ISO/IEC 11172-3 (a.k.a. MPEG-1 Audio or MPEG-1 Part 3), published in 1993.


Question: What was the first started suite by MPEG?

Answer: MPEG-1

<hl> All algorithms for MPEG-1 Audio Layer I, II and III were approved in 1991 and finalized in 1992 as part of MPEG-1, the first standard suite by MPEG, which resulted in the international standard ISO/IEC 11172-3 (a.k.a. <hl> MPEG-1 Audio or MPEG-1 Part 3), published in 1993.

All algorithms for <hl> MPEG-1 <hl> Audio Layer I, II and III were approved in 1991 and finalized in 1992 as part of MPEG-1, the first standard suite by MPEG, which resulted in the international standard ISO/IEC 11172-3 (a.k.a. MPEG-1 Audio or MPEG-1 Part 3), published in 1993.


Question: What was the official name of the internation standard?

Answer: ISO/IEC 11172-3

<hl> All algorithms for MPEG-1 Audio Layer I, II and III were approved in 1991 and finalized in 1992 as part of MPEG-1, the first standard suite by MPEG, which resulted in the international standard ISO/IEC 11172-3 (a.k.a. <hl> MPEG-1 Audio or MPEG-1 Part 3), published in 1993.

All algorithms for MPEG-1 Audio Layer I, II and III were approved in 1991 and finalized in 1992 as part of MPEG-1, the first standard suite by MPEG, which resulted in the international standard <hl> ISO/IEC 11172-3 <hl> (a.k.a. MPEG-1 Audio or MPEG-1 Part 3), published in 1993.


Question: When was the international standard published?

Answer: 1993

All algorithms for MPEG-1 Audio Layer I, II and III were approved in 1991 and finalized in 1992 as part of MPEG-1, the first standard suite by MPEG, which resulted in the international standard ISO/IEC 11172-3 (a.k.a. <hl> MPEG-1 Audio or MPEG-1 Part 3), published in 1993 . <hl>

All algorithms for MPEG-1 Audio Layer I, II and III were approved in 1991 and finalized in 1992 as part of MPEG-1, the first standard suite by MPEG, which resulted in the international standard ISO/IEC 11172-3 (a.k.a. MPEG-1 Audio or MPEG-1 Part 3), published in <hl> 1993 <hl>.

MPEG-1 Audio or MPEG-1 Part 3), published in <hl> 1993 <hl> .


Question: Further work on MPEG was finalized as a part of which MPEG standard?

Further work on MPEG audio was finalized in 1994 as part of the second suite of MPEG standards, MPEG-2, more formally known as international standard ISO/IEC 13818-3 (a.k.a. MPEG-2 Part 3 or backwards compatible MPEG-2 Audio or MPEG-2 Audio BC), originally published in 1995. MPEG-2 Part 3 (ISO/IEC 13818-3) defined additional bit rates and sample rates for MPEG-1 Audio Layer I, II and III. The new sampling rates are exactly half that of those originally defined in MPEG-1 Audio. This reduction in sampling rate serves to cut the available frequency fidelity in half while likewise cutting the bitrate by 50%. MPEG-2 Part 3 also enhanced MPEG-1's audio by allowing the coding of audio programs with more than two channels, up to 5.1 multichannel.

Answer: second suite

<hl> Further work on MPEG audio was finalized in 1994 as part of the second suite of MPEG standards, MPEG-2, more formally known as international standard ISO/IEC 13818-3 (a.k.a. <hl> MPEG-2 Part 3 or backwards compatible MPEG-2 Audio or MPEG-2 Audio BC), originally published in 1995. MPEG-2 Part 3 (ISO/IEC 13818-3) defined additional bit rates and sample rates for MPEG-1 Audio Layer I, II and III. The new sampling rates are exactly half that of those originally defined in MPEG-1 Audio. This reduction in sampling rate serves to cut the available frequency fidelity in half while likewise cutting the bitrate by 50%. MPEG-2 Part 3 also enhanced MPEG-1's audio by allowing the coding of audio programs with more than two channels, up to 5.1 multichannel.

Further work on MPEG audio was finalized in 1994 as part of the <hl> second suite <hl> of MPEG standards, MPEG-2, more formally known as international standard ISO/IEC 13818-3 (a.k.a. MPEG-2 Part 3 or backwards compatible MPEG-2 Audio or MPEG-2 Audio BC), originally published in 1995. MPEG-2 Part 3 (ISO/IEC 13818-3) defined additional bit rates and sample rates for MPEG-1 Audio Layer I, II and III. The new sampling rates are exactly half that of those originally defined in MPEG-1 Audio. This reduction in sampling rate serves to cut the available frequency fidelity in half while likewise cutting the bitrate by 50%. MPEG-2 Part 3 also enhanced MPEG-1's audio by allowing the coding of audio programs with more than two channels, up to 5.1 multichannel.


Question: What was the official name of ISO/IEC 13818-3 better known as?

Answer: MPEG-2

<hl> Further work on MPEG audio was finalized in 1994 as part of the second suite of MPEG standards, MPEG-2 , more formally known as international standard ISO/IEC 13818-3 (a.k.a. <hl> MPEG-2 Part 3 or backwards compatible MPEG-2 Audio or MPEG-2 Audio BC), originally published in 1995. MPEG-2 Part 3 (ISO/IEC 13818-3) defined additional bit rates and sample rates for MPEG-1 Audio Layer I, II and III. The new sampling rates are exactly half that of those originally defined in MPEG-1 Audio. This reduction in sampling rate serves to cut the available frequency fidelity in half while likewise cutting the bitrate by 50%. MPEG-2 Part 3 also enhanced MPEG-1's audio by allowing the coding of audio programs with more than two channels, up to 5.1 multichannel.

Further work on MPEG audio was finalized in 1994 as part of the second suite of MPEG standards, <hl> MPEG-2 <hl>, more formally known as international standard ISO/IEC 13818-3 (a.k.a. MPEG-2 Part 3 or backwards compatible MPEG-2 Audio or MPEG-2 Audio BC), originally published in 1995. MPEG-2 Part 3 (ISO/IEC 13818-3) defined additional bit rates and sample rates for MPEG-1 Audio Layer I, II and III. The new sampling rates are exactly half that of those originally defined in MPEG-1 Audio. This reduction in sampling rate serves to cut the available frequency fidelity in half while likewise cutting the bitrate by 50%. MPEG-2 Part 3 also enhanced MPEG-1's audio by allowing the coding of audio programs with more than two channels, up to 5.1 multichannel.

Further work on MPEG audio was finalized in 1994 as part of the second suite of MPEG standards, <hl> MPEG-2 <hl> , more formally known as international standard ISO/IEC 13818-3 (a.k.a.


Question: At what rate were the new sampling rates defined in comparison to MPEG-1 Audio?

Answer: half

Further work on MPEG audio was finalized in 1994 as part of the second suite of MPEG standards, MPEG-2, more formally known as international standard ISO/IEC 13818-3 (a.k.a. MPEG-2 Part 3 or backwards compatible MPEG-2 Audio or MPEG-2 Audio BC), originally published in 1995. MPEG-2 Part 3 (ISO/IEC 13818-3) defined additional bit rates and sample rates for MPEG-1 Audio Layer I, II and III. <hl> The new sampling rates are exactly half that of those originally defined in MPEG-1 Audio. <hl> This reduction in sampling rate serves to cut the available frequency fidelity in half while likewise cutting the bitrate by 50%. MPEG-2 Part 3 also enhanced MPEG-1's audio by allowing the coding of audio programs with more than two channels, up to 5.1 multichannel.

Further work on MPEG audio was finalized in 1994 as part of the second suite of MPEG standards, MPEG-2, more formally known as international standard ISO/IEC 13818-3 (a.k.a. MPEG-2 Part 3 or backwards compatible MPEG-2 Audio or MPEG-2 Audio BC), originally published in 1995. MPEG-2 Part 3 (ISO/IEC 13818-3) defined additional bit rates and sample rates for MPEG-1 Audio Layer I, II and III. The new sampling rates are exactly <hl> half <hl> that of those originally defined in MPEG-1 Audio. This reduction in sampling rate serves to cut the available frequency fidelity in half while likewise cutting the bitrate by 50%. MPEG-2 Part 3 also enhanced MPEG-1's audio by allowing the coding of audio programs with more than two channels, up to 5.1 multichannel.


Question: Apart from cutting the frequency fidelity in half, what else was cut in half?

Answer: bitrate

Further work on MPEG audio was finalized in 1994 as part of the second suite of MPEG standards, MPEG-2, more formally known as international standard ISO/IEC 13818-3 (a.k.a. MPEG-2 Part 3 or backwards compatible MPEG-2 Audio or MPEG-2 Audio BC), originally published in 1995. MPEG-2 Part 3 (ISO/IEC 13818-3) defined additional bit rates and sample rates for MPEG-1 Audio Layer I, II and III. The new sampling rates are exactly half that of those originally defined in MPEG-1 Audio. <hl> This reduction in sampling rate serves to cut the available frequency fidelity in half while likewise cutting the bitrate by 50%. <hl> MPEG-2 Part 3 also enhanced MPEG-1's audio by allowing the coding of audio programs with more than two channels, up to 5.1 multichannel.

Further work on MPEG audio was finalized in 1994 as part of the second suite of MPEG standards, MPEG-2, more formally known as international standard ISO/IEC 13818-3 (a.k.a. MPEG-2 Part 3 or backwards compatible MPEG-2 Audio or MPEG-2 Audio BC), originally published in 1995. MPEG-2 Part 3 (ISO/IEC 13818-3) defined additional bit rates and sample rates for MPEG-1 Audio Layer I, II and III. The new sampling rates are exactly half that of those originally defined in MPEG-1 Audio. This reduction in sampling rate serves to cut the available frequency fidelity in half while likewise cutting the <hl> bitrate <hl> by 50%. MPEG-2 Part 3 also enhanced MPEG-1's audio by allowing the coding of audio programs with more than two channels, up to 5.1 multichannel.


Question: Allowing the coding of audio programs with more than two channels was a major aspect of what?

Answer: MPEG-2 Part 3

Further work on MPEG audio was finalized in 1994 as part of the second suite of MPEG standards, MPEG-2, more formally known as international standard ISO/IEC 13818-3 (a.k.a. <hl> MPEG-2 Part 3 or backwards compatible MPEG-2 Audio or MPEG-2 Audio BC), originally published in 1995. <hl> MPEG-2 Part 3 (ISO/IEC 13818-3) defined additional bit rates and sample rates for MPEG-1 Audio Layer I, II and III. The new sampling rates are exactly half that of those originally defined in MPEG-1 Audio. This reduction in sampling rate serves to cut the available frequency fidelity in half while likewise cutting the bitrate by 50%. MPEG-2 Part 3 also enhanced MPEG-1's audio by allowing the coding of audio programs with more than two channels, up to 5.1 multichannel.

Further work on MPEG audio was finalized in 1994 as part of the second suite of MPEG standards, MPEG-2, more formally known as international standard ISO/IEC 13818-3 (a.k.a. <hl> MPEG-2 Part 3 <hl> or backwards compatible MPEG-2 Audio or MPEG-2 Audio BC), originally published in 1995. MPEG-2 Part 3 (ISO/IEC 13818-3) defined additional bit rates and sample rates for MPEG-1 Audio Layer I, II and III. The new sampling rates are exactly half that of those originally defined in MPEG-1 Audio. This reduction in sampling rate serves to cut the available frequency fidelity in half while likewise cutting the bitrate by 50%. MPEG-2 Part 3 also enhanced MPEG-1's audio by allowing the coding of audio programs with more than two channels, up to 5.1 multichannel.


Question: As MPEG-3 had a different meaning, what was the name given to the extension of MPEG-2?

An additional extension to MPEG-2 is named MPEG-2.5 audio, as MPEG-3 already had a different meaning. This extension was developed at Fraunhofer IIS, the registered MP3 patent holders. Like MPEG-2, MPEG-2.5 adds new sampling rates exactly half of that previously possible with MPEG-2. It thus widens the scope of MP3 to include human speech and other applications requiring only 25% of the frequency reproduction possible with MPEG-1. While not an ISO recognized standard, MPEG-2.5 is widely supported by both inexpensive and brand name digital audio players as well as computer software based MP3 encoders and decoders. A sample rate comparison between MPEG-1, 2 and 2.5 is given further down. MPEG-2.5 was not developed by MPEG and was never approved as an international standard. MPEG-2.5 is thus an unofficial or proprietary extension to the MP3 format.

Answer: MPEG-2.5 audio

<hl> An additional extension to MPEG-2 is named MPEG-2.5 audio , as MPEG-3 already had a different meaning. <hl> This extension was developed at Fraunhofer IIS, the registered MP3 patent holders. Like MPEG-2, MPEG-2.5 adds new sampling rates exactly half of that previously possible with MPEG-2. It thus widens the scope of MP3 to include human speech and other applications requiring only 25% of the frequency reproduction possible with MPEG-1. While not an ISO recognized standard, MPEG-2.5 is widely supported by both inexpensive and brand name digital audio players as well as computer software based MP3 encoders and decoders. A sample rate comparison between MPEG-1, 2 and 2.5 is given further down. MPEG-2.5 was not developed by MPEG and was never approved as an international standard. MPEG-2.5 is thus an unofficial or proprietary extension to the MP3 format.

An additional extension to MPEG-2 is named <hl> MPEG-2.5 audio <hl>, as MPEG-3 already had a different meaning. This extension was developed at Fraunhofer IIS, the registered MP3 patent holders. Like MPEG-2, MPEG-2.5 adds new sampling rates exactly half of that previously possible with MPEG-2. It thus widens the scope of MP3 to include human speech and other applications requiring only 25% of the frequency reproduction possible with MPEG-1. While not an ISO recognized standard, MPEG-2.5 is widely supported by both inexpensive and brand name digital audio players as well as computer software based MP3 encoders and decoders. A sample rate comparison between MPEG-1, 2 and 2.5 is given further down. MPEG-2.5 was not developed by MPEG and was never approved as an international standard. MPEG-2.5 is thus an unofficial or proprietary extension to the MP3 format.

An additional extension to MPEG-2 is named <hl> MPEG-2.5 audio <hl> , as MPEG-3 already had a different meaning.


Question: Where was this extension developed?

Answer: Fraunhofer IIS

An additional extension to MPEG-2 is named MPEG-2.5 audio, as MPEG-3 already had a different meaning. <hl> This extension was developed at Fraunhofer IIS , the registered MP3 patent holders. <hl> Like MPEG-2, MPEG-2.5 adds new sampling rates exactly half of that previously possible with MPEG-2. It thus widens the scope of MP3 to include human speech and other applications requiring only 25% of the frequency reproduction possible with MPEG-1. While not an ISO recognized standard, MPEG-2.5 is widely supported by both inexpensive and brand name digital audio players as well as computer software based MP3 encoders and decoders. A sample rate comparison between MPEG-1, 2 and 2.5 is given further down. MPEG-2.5 was not developed by MPEG and was never approved as an international standard. MPEG-2.5 is thus an unofficial or proprietary extension to the MP3 format.

An additional extension to MPEG-2 is named MPEG-2.5 audio, as MPEG-3 already had a different meaning. This extension was developed at <hl> Fraunhofer IIS <hl>, the registered MP3 patent holders. Like MPEG-2, MPEG-2.5 adds new sampling rates exactly half of that previously possible with MPEG-2. It thus widens the scope of MP3 to include human speech and other applications requiring only 25% of the frequency reproduction possible with MPEG-1. While not an ISO recognized standard, MPEG-2.5 is widely supported by both inexpensive and brand name digital audio players as well as computer software based MP3 encoders and decoders. A sample rate comparison between MPEG-1, 2 and 2.5 is given further down. MPEG-2.5 was not developed by MPEG and was never approved as an international standard. MPEG-2.5 is thus an unofficial or proprietary extension to the MP3 format.

This extension was developed at <hl> Fraunhofer IIS <hl> , the registered MP3 patent holders.


Question: The new sampling rates widened the scope of MP3 to be able to include what?

Answer: human speech

An additional extension to MPEG-2 is named MPEG-2.5 audio, as MPEG-3 already had a different meaning. This extension was developed at Fraunhofer IIS, the registered MP3 patent holders. Like MPEG-2, MPEG-2.5 adds new sampling rates exactly half of that previously possible with MPEG-2. <hl> It thus widens the scope of MP3 to include human speech and other applications requiring only 25% of the frequency reproduction possible with MPEG-1. <hl> While not an ISO recognized standard, MPEG-2.5 is widely supported by both inexpensive and brand name digital audio players as well as computer software based MP3 encoders and decoders. A sample rate comparison between MPEG-1, 2 and 2.5 is given further down. MPEG-2.5 was not developed by MPEG and was never approved as an international standard. MPEG-2.5 is thus an unofficial or proprietary extension to the MP3 format.

An additional extension to MPEG-2 is named MPEG-2.5 audio, as MPEG-3 already had a different meaning. This extension was developed at Fraunhofer IIS, the registered MP3 patent holders. Like MPEG-2, MPEG-2.5 adds new sampling rates exactly half of that previously possible with MPEG-2. It thus widens the scope of MP3 to include <hl> human speech <hl> and other applications requiring only 25% of the frequency reproduction possible with MPEG-1. While not an ISO recognized standard, MPEG-2.5 is widely supported by both inexpensive and brand name digital audio players as well as computer software based MP3 encoders and decoders. A sample rate comparison between MPEG-1, 2 and 2.5 is given further down. MPEG-2.5 was not developed by MPEG and was never approved as an international standard. MPEG-2.5 is thus an unofficial or proprietary extension to the MP3 format.


Question: What is not an ISO recognized standard?

Answer: MPEG-2.5

<hl> An additional extension to MPEG-2 is named MPEG-2.5 audio, as MPEG-3 already had a different meaning. <hl> This extension was developed at Fraunhofer IIS, the registered MP3 patent holders. Like MPEG-2, MPEG-2.5 adds new sampling rates exactly half of that previously possible with MPEG-2. It thus widens the scope of MP3 to include human speech and other applications requiring only 25% of the frequency reproduction possible with MPEG-1. While not an ISO recognized standard, MPEG-2.5 is widely supported by both inexpensive and brand name digital audio players as well as computer software based MP3 encoders and decoders. A sample rate comparison between MPEG-1, 2 and 2.5 is given further down. MPEG-2.5 was not developed by MPEG and was never approved as an international standard. MPEG-2.5 is thus an unofficial or proprietary extension to the MP3 format.

An additional extension to MPEG-2 is named <hl> MPEG-2.5 <hl> audio, as MPEG-3 already had a different meaning. This extension was developed at Fraunhofer IIS, the registered MP3 patent holders. Like MPEG-2, MPEG-2.5 adds new sampling rates exactly half of that previously possible with MPEG-2. It thus widens the scope of MP3 to include human speech and other applications requiring only 25% of the frequency reproduction possible with MPEG-1. While not an ISO recognized standard, MPEG-2.5 is widely supported by both inexpensive and brand name digital audio players as well as computer software based MP3 encoders and decoders. A sample rate comparison between MPEG-1, 2 and 2.5 is given further down. MPEG-2.5 was not developed by MPEG and was never approved as an international standard. MPEG-2.5 is thus an unofficial or proprietary extension to the MP3 format.


Question: As MPEG-2.5 is unofficial, it is considered what kind of extension to the MP3 format?

Answer: proprietary

An additional extension to MPEG-2 is named MPEG-2.5 audio, as MPEG-3 already had a different meaning. This extension was developed at Fraunhofer IIS, the registered MP3 patent holders. Like MPEG-2, MPEG-2.5 adds new sampling rates exactly half of that previously possible with MPEG-2. It thus widens the scope of MP3 to include human speech and other applications requiring only 25% of the frequency reproduction possible with MPEG-1. While not an ISO recognized standard, MPEG-2.5 is widely supported by both inexpensive and brand name digital audio players as well as computer software based MP3 encoders and decoders. A sample rate comparison between MPEG-1, 2 and 2.5 is given further down. MPEG-2.5 was not developed by MPEG and was never approved as an international standard. <hl> MPEG-2.5 is thus an unofficial or proprietary extension to the MP3 format. <hl>

An additional extension to MPEG-2 is named MPEG-2.5 audio, as MPEG-3 already had a different meaning. This extension was developed at Fraunhofer IIS, the registered MP3 patent holders. Like MPEG-2, MPEG-2.5 adds new sampling rates exactly half of that previously possible with MPEG-2. It thus widens the scope of MP3 to include human speech and other applications requiring only 25% of the frequency reproduction possible with MPEG-1. While not an ISO recognized standard, MPEG-2.5 is widely supported by both inexpensive and brand name digital audio players as well as computer software based MP3 encoders and decoders. A sample rate comparison between MPEG-1, 2 and 2.5 is given further down. MPEG-2.5 was not developed by MPEG and was never approved as an international standard. MPEG-2.5 is thus an unofficial or <hl> proprietary <hl> extension to the MP3 format.


Question: What defines the compression efficiency of encoders?

Compression efficiency of encoders is typically defined by the bit rate, because compression ratio depends on the bit depth and sampling rate of the input signal. Nevertheless, compression ratios are often published. They may use the Compact Disc (CD) parameters as references (44.1 kHz, 2 channels at 16 bits per channel or 2×16 bit), or sometimes the Digital Audio Tape (DAT) SP parameters (48 kHz, 2×16 bit). Compression ratios with this latter reference are higher, which demonstrates the problem with use of the term compression ratio for lossy encoders.

Answer: bit rate

<hl> Compression efficiency of encoders is typically defined by the bit rate , because compression ratio depends on the bit depth and sampling rate of the input signal. <hl> Nevertheless, compression ratios are often published. They may use the Compact Disc (CD) parameters as references (44.1 kHz, 2 channels at 16 bits per channel or 2×16 bit), or sometimes the Digital Audio Tape (DAT) SP parameters (48 kHz, 2×16 bit). Compression ratios with this latter reference are higher, which demonstrates the problem with use of the term compression ratio for lossy encoders.

Compression efficiency of encoders is typically defined by the <hl> bit rate <hl>, because compression ratio depends on the bit depth and sampling rate of the input signal. Nevertheless, compression ratios are often published. They may use the Compact Disc (CD) parameters as references (44.1 kHz, 2 channels at 16 bits per channel or 2×16 bit), or sometimes the Digital Audio Tape (DAT) SP parameters (48 kHz, 2×16 bit). Compression ratios with this latter reference are higher, which demonstrates the problem with use of the term compression ratio for lossy encoders.

Compression efficiency of encoders is typically defined by the <hl> bit rate <hl> , because compression ratio depends on the bit depth and sampling rate of the input signal.


Question: Compression ratio depends on the sample rate and bit depth of which signal?

Answer: input

<hl> Compression efficiency of encoders is typically defined by the bit rate, because compression ratio depends on the bit depth and sampling rate of the input signal. <hl> Nevertheless, compression ratios are often published. They may use the Compact Disc (CD) parameters as references (44.1 kHz, 2 channels at 16 bits per channel or 2×16 bit), or sometimes the Digital Audio Tape (DAT) SP parameters (48 kHz, 2×16 bit). Compression ratios with this latter reference are higher, which demonstrates the problem with use of the term compression ratio for lossy encoders.

Compression efficiency of encoders is typically defined by the bit rate, because compression ratio depends on the bit depth and sampling rate of the <hl> input <hl> signal. Nevertheless, compression ratios are often published. They may use the Compact Disc (CD) parameters as references (44.1 kHz, 2 channels at 16 bits per channel or 2×16 bit), or sometimes the Digital Audio Tape (DAT) SP parameters (48 kHz, 2×16 bit). Compression ratios with this latter reference are higher, which demonstrates the problem with use of the term compression ratio for lossy encoders.


Question: What does CD stand for?

Answer: Compact Disc

Compression efficiency of encoders is typically defined by the bit rate, because compression ratio depends on the bit depth and sampling rate of the input signal. Nevertheless, compression ratios are often published. <hl> They may use the Compact Disc (CD) parameters as references (44.1 kHz, 2 channels at 16 bits per channel or 2×16 bit), or sometimes the Digital Audio Tape (DAT) SP parameters (48 kHz, 2×16 bit). <hl> Compression ratios with this latter reference are higher, which demonstrates the problem with use of the term compression ratio for lossy encoders.

Compression efficiency of encoders is typically defined by the bit rate, because compression ratio depends on the bit depth and sampling rate of the input signal. Nevertheless, compression ratios are often published. They may use the <hl> Compact Disc <hl> (CD) parameters as references (44.1 kHz, 2 channels at 16 bits per channel or 2×16 bit), or sometimes the Digital Audio Tape (DAT) SP parameters (48 kHz, 2×16 bit). Compression ratios with this latter reference are higher, which demonstrates the problem with use of the term compression ratio for lossy encoders.


Question: Other than CD parameters, what else can be used as parameter references?

Answer: Digital Audio Tape (DAT) SP

Compression efficiency of encoders is typically defined by the bit rate, because compression ratio depends on the bit depth and sampling rate of the input signal. Nevertheless, compression ratios are often published. <hl> They may use the Compact Disc (CD) parameters as references (44.1 kHz, 2 channels at 16 bits per channel or 2×16 bit), or sometimes the Digital Audio Tape (DAT) SP parameters (48 kHz, 2×16 bit). <hl> Compression ratios with this latter reference are higher, which demonstrates the problem with use of the term compression ratio for lossy encoders.

Compression efficiency of encoders is typically defined by the bit rate, because compression ratio depends on the bit depth and sampling rate of the input signal. Nevertheless, compression ratios are often published. They may use the Compact Disc (CD) parameters as references (44.1 kHz, 2 channels at 16 bits per channel or 2×16 bit), or sometimes the <hl> Digital Audio Tape (DAT) SP <hl> parameters (48 kHz, 2×16 bit). Compression ratios with this latter reference are higher, which demonstrates the problem with use of the term compression ratio for lossy encoders.


Question: What can CD parameters be used as references for?

Answer: compression ratios

Compression efficiency of encoders is typically defined by the bit rate, because compression ratio depends on the bit depth and sampling rate of the input signal. <hl> Nevertheless, compression ratios are often published. <hl> They may use the Compact Disc (CD) parameters as references (44.1 kHz, 2 channels at 16 bits per channel or 2×16 bit), or sometimes the Digital Audio Tape (DAT) SP parameters (48 kHz, 2×16 bit). Compression ratios with this latter reference are higher, which demonstrates the problem with use of the term compression ratio for lossy encoders.

Compression efficiency of encoders is typically defined by the bit rate, because compression ratio depends on the bit depth and sampling rate of the input signal. Nevertheless, <hl> compression ratios <hl> are often published. They may use the Compact Disc (CD) parameters as references (44.1 kHz, 2 channels at 16 bits per channel or 2×16 bit), or sometimes the Digital Audio Tape (DAT) SP parameters (48 kHz, 2×16 bit). Compression ratios with this latter reference are higher, which demonstrates the problem with use of the term compression ratio for lossy encoders.


Question: What type of recording did Brandenburg use?

Karlheinz Brandenburg used a CD recording of Suzanne Vega's song "Tom's Diner" to assess and refine the MP3 compression algorithm. This song was chosen because of its nearly monophonic nature and wide spectral content, making it easier to hear imperfections in the compression format during playbacks. Some refer to Suzanne Vega as "The mother of MP3". This particular track has an interesting property in that the two channels are almost, but not completely, the same, leading to a case where Binaural Masking Level Depression causes spatial unmasking of noise artifacts unless the encoder properly recognizes the situation and applies corrections similar to those detailed in the MPEG-2 AAC psychoacoustic model. Some more critical audio excerpts (glockenspiel, triangle, accordion, etc.) were taken from the EBU V3/SQAM reference compact disc and have been used by professional sound engineers to assess the subjective quality of the MPEG Audio formats.

Answer: CD

<hl> Karlheinz Brandenburg used a CD recording of Suzanne Vega's song "Tom's Diner" to assess and refine the MP3 compression algorithm. <hl> This song was chosen because of its nearly monophonic nature and wide spectral content, making it easier to hear imperfections in the compression format during playbacks. Some refer to Suzanne Vega as "The mother of MP3". This particular track has an interesting property in that the two channels are almost, but not completely, the same, leading to a case where Binaural Masking Level Depression causes spatial unmasking of noise artifacts unless the encoder properly recognizes the situation and applies corrections similar to those detailed in the MPEG-2 AAC psychoacoustic model. Some more critical audio excerpts (glockenspiel, triangle, accordion, etc.) were taken from the EBU V3/SQAM reference compact disc and have been used by professional sound engineers to assess the subjective quality of the MPEG Audio formats.

Karlheinz Brandenburg used a <hl> CD <hl> recording of Suzanne Vega's song "Tom's Diner" to assess and refine the MP3 compression algorithm. This song was chosen because of its nearly monophonic nature and wide spectral content, making it easier to hear imperfections in the compression format during playbacks. Some refer to Suzanne Vega as "The mother of MP3". This particular track has an interesting property in that the two channels are almost, but not completely, the same, leading to a case where Binaural Masking Level Depression causes spatial unmasking of noise artifacts unless the encoder properly recognizes the situation and applies corrections similar to those detailed in the MPEG-2 AAC psychoacoustic model. Some more critical audio excerpts (glockenspiel, triangle, accordion, etc.) were taken from the EBU V3/SQAM reference compact disc and have been used by professional sound engineers to assess the subjective quality of the MPEG Audio formats.


Question: What did Brandenburg use the recording to refine?

Answer: the MP3 compression algorithm

<hl> Karlheinz Brandenburg used a CD recording of Suzanne Vega's song "Tom's Diner" to assess and refine the MP3 compression algorithm . <hl> This song was chosen because of its nearly monophonic nature and wide spectral content, making it easier to hear imperfections in the compression format during playbacks. Some refer to Suzanne Vega as "The mother of MP3". This particular track has an interesting property in that the two channels are almost, but not completely, the same, leading to a case where Binaural Masking Level Depression causes spatial unmasking of noise artifacts unless the encoder properly recognizes the situation and applies corrections similar to those detailed in the MPEG-2 AAC psychoacoustic model. Some more critical audio excerpts (glockenspiel, triangle, accordion, etc.) were taken from the EBU V3/SQAM reference compact disc and have been used by professional sound engineers to assess the subjective quality of the MPEG Audio formats.

Karlheinz Brandenburg used a CD recording of Suzanne Vega's song "Tom's Diner" to assess and refine <hl> the MP3 compression algorithm <hl>. This song was chosen because of its nearly monophonic nature and wide spectral content, making it easier to hear imperfections in the compression format during playbacks. Some refer to Suzanne Vega as "The mother of MP3". This particular track has an interesting property in that the two channels are almost, but not completely, the same, leading to a case where Binaural Masking Level Depression causes spatial unmasking of noise artifacts unless the encoder properly recognizes the situation and applies corrections similar to those detailed in the MPEG-2 AAC psychoacoustic model. Some more critical audio excerpts (glockenspiel, triangle, accordion, etc.) were taken from the EBU V3/SQAM reference compact disc and have been used by professional sound engineers to assess the subjective quality of the MPEG Audio formats.

Karlheinz Brandenburg used a CD recording of Suzanne Vega's song "Tom's Diner" to assess and refine <hl> the MP3 compression algorithm <hl> .


Question: What word describes the nature of the song used?

Answer: monophonic

Karlheinz Brandenburg used a CD recording of Suzanne Vega's song "Tom's Diner" to assess and refine the MP3 compression algorithm. <hl> This song was chosen because of its nearly monophonic nature and wide spectral content, making it easier to hear imperfections in the compression format during playbacks. <hl> Some refer to Suzanne Vega as "The mother of MP3". This particular track has an interesting property in that the two channels are almost, but not completely, the same, leading to a case where Binaural Masking Level Depression causes spatial unmasking of noise artifacts unless the encoder properly recognizes the situation and applies corrections similar to those detailed in the MPEG-2 AAC psychoacoustic model. Some more critical audio excerpts (glockenspiel, triangle, accordion, etc.) were taken from the EBU V3/SQAM reference compact disc and have been used by professional sound engineers to assess the subjective quality of the MPEG Audio formats.

Karlheinz Brandenburg used a CD recording of Suzanne Vega's song "Tom's Diner" to assess and refine the MP3 compression algorithm. This song was chosen because of its nearly <hl> monophonic <hl> nature and wide spectral content, making it easier to hear imperfections in the compression format during playbacks. Some refer to Suzanne Vega as "The mother of MP3". This particular track has an interesting property in that the two channels are almost, but not completely, the same, leading to a case where Binaural Masking Level Depression causes spatial unmasking of noise artifacts unless the encoder properly recognizes the situation and applies corrections similar to those detailed in the MPEG-2 AAC psychoacoustic model. Some more critical audio excerpts (glockenspiel, triangle, accordion, etc.) were taken from the EBU V3/SQAM reference compact disc and have been used by professional sound engineers to assess the subjective quality of the MPEG Audio formats.


Question: As a result of her song being used, Suzanne Vega is sometimes referred to as what?

Answer: The mother of MP3

Karlheinz Brandenburg used a CD recording of Suzanne Vega's song "Tom's Diner" to assess and refine the MP3 compression algorithm. This song was chosen because of its nearly monophonic nature and wide spectral content, making it easier to hear imperfections in the compression format during playbacks. <hl> Some refer to Suzanne Vega as " The mother of MP3 ". <hl> This particular track has an interesting property in that the two channels are almost, but not completely, the same, leading to a case where Binaural Masking Level Depression causes spatial unmasking of noise artifacts unless the encoder properly recognizes the situation and applies corrections similar to those detailed in the MPEG-2 AAC psychoacoustic model. Some more critical audio excerpts (glockenspiel, triangle, accordion, etc.) were taken from the EBU V3/SQAM reference compact disc and have been used by professional sound engineers to assess the subjective quality of the MPEG Audio formats.

Karlheinz Brandenburg used a CD recording of Suzanne Vega's song "Tom's Diner" to assess and refine the MP3 compression algorithm. This song was chosen because of its nearly monophonic nature and wide spectral content, making it easier to hear imperfections in the compression format during playbacks. Some refer to Suzanne Vega as "<hl> The mother of MP3 <hl>". This particular track has an interesting property in that the two channels are almost, but not completely, the same, leading to a case where Binaural Masking Level Depression causes spatial unmasking of noise artifacts unless the encoder properly recognizes the situation and applies corrections similar to those detailed in the MPEG-2 AAC psychoacoustic model. Some more critical audio excerpts (glockenspiel, triangle, accordion, etc.) were taken from the EBU V3/SQAM reference compact disc and have been used by professional sound engineers to assess the subjective quality of the MPEG Audio formats.

Some refer to Suzanne Vega as " <hl> The mother of MP3 <hl> ".


Question: Excerpts were taken from which reference compact disc to assess the subjective quality of the MPEG audio formats?

Answer: EBU V3/SQAM

Karlheinz Brandenburg used a CD recording of Suzanne Vega's song "Tom's Diner" to assess and refine the MP3 compression algorithm. This song was chosen because of its nearly monophonic nature and wide spectral content, making it easier to hear imperfections in the compression format during playbacks. Some refer to Suzanne Vega as "The mother of MP3". This particular track has an interesting property in that the two channels are almost, but not completely, the same, leading to a case where Binaural Masking Level Depression causes spatial unmasking of noise artifacts unless the encoder properly recognizes the situation and applies corrections similar to those detailed in the MPEG-2 AAC psychoacoustic model. <hl> Some more critical audio excerpts (glockenspiel, triangle, accordion, etc.) were taken from the EBU V3/SQAM reference compact disc and have been used by professional sound engineers to assess the subjective quality of the MPEG Audio formats. <hl>

Karlheinz Brandenburg used a CD recording of Suzanne Vega's song "Tom's Diner" to assess and refine the MP3 compression algorithm. This song was chosen because of its nearly monophonic nature and wide spectral content, making it easier to hear imperfections in the compression format during playbacks. Some refer to Suzanne Vega as "The mother of MP3". This particular track has an interesting property in that the two channels are almost, but not completely, the same, leading to a case where Binaural Masking Level Depression causes spatial unmasking of noise artifacts unless the encoder properly recognizes the situation and applies corrections similar to those detailed in the MPEG-2 AAC psychoacoustic model. Some more critical audio excerpts (glockenspiel, triangle, accordion, etc.) were taken from the <hl> EBU V3/SQAM <hl> reference compact disc and have been used by professional sound engineers to assess the subjective quality of the MPEG Audio formats.


Question: Who developed the reference simulation software?

A reference simulation software implementation, written in the C language and later known as ISO 11172-5, was developed (in 1991–1996) by the members of the ISO MPEG Audio committee in order to produce bit compliant MPEG Audio files (Layer 1, Layer 2, Layer 3). It was approved as a committee draft of ISO/IEC technical report in March 1994 and printed as document CD 11172-5 in April 1994. It was approved as a draft technical report (DTR/DIS) in November 1994, finalized in 1996 and published as international standard ISO/IEC TR 11172-5:1998 in 1998. The reference software in C language was later published as a freely available ISO standard. Working in non-real time on a number of operating systems, it was able to demonstrate the first real time hardware decoding (DSP based) of compressed audio. Some other real time implementation of MPEG Audio encoders were available for the purpose of digital broadcasting (radio DAB, television DVB) towards consumer receivers and set top boxes.

Answer: the ISO MPEG Audio committee

<hl> A reference simulation software implementation, written in the C language and later known as ISO 11172-5, was developed (in 1991–1996) by the members of the ISO MPEG Audio committee in order to produce bit compliant MPEG Audio files (Layer 1, Layer 2, Layer 3). <hl> It was approved as a committee draft of ISO/IEC technical report in March 1994 and printed as document CD 11172-5 in April 1994. It was approved as a draft technical report (DTR/DIS) in November 1994, finalized in 1996 and published as international standard ISO/IEC TR 11172-5:1998 in 1998. The reference software in C language was later published as a freely available ISO standard. Working in non-real time on a number of operating systems, it was able to demonstrate the first real time hardware decoding (DSP based) of compressed audio. Some other real time implementation of MPEG Audio encoders were available for the purpose of digital broadcasting (radio DAB, television DVB) towards consumer receivers and set top boxes.

A reference simulation software implementation, written in the C language and later known as ISO 11172-5, was developed (in 1991–1996) by the members of <hl> the ISO MPEG Audio committee <hl> in order to produce bit compliant MPEG Audio files (Layer 1, Layer 2, Layer 3). It was approved as a committee draft of ISO/IEC technical report in March 1994 and printed as document CD 11172-5 in April 1994. It was approved as a draft technical report (DTR/DIS) in November 1994, finalized in 1996 and published as international standard ISO/IEC TR 11172-5:1998 in 1998. The reference software in C language was later published as a freely available ISO standard. Working in non-real time on a number of operating systems, it was able to demonstrate the first real time hardware decoding (DSP based) of compressed audio. Some other real time implementation of MPEG Audio encoders were available for the purpose of digital broadcasting (radio DAB, television DVB) towards consumer receivers and set top boxes.


Question: Which language was the reference simulation software written in?

Answer: C

<hl> A reference simulation software implementation, written in the C language and later known as ISO 11172-5, was developed (in 1991–1996) by the members of the ISO MPEG Audio committee in order to produce bit compliant MPEG Audio files (Layer 1, Layer 2, Layer 3). <hl> It was approved as a committee draft of ISO/IEC technical report in March 1994 and printed as document CD 11172-5 in April 1994. It was approved as a draft technical report (DTR/DIS) in November 1994, finalized in 1996 and published as international standard ISO/IEC TR 11172-5:1998 in 1998. The reference software in C language was later published as a freely available ISO standard. Working in non-real time on a number of operating systems, it was able to demonstrate the first real time hardware decoding (DSP based) of compressed audio. Some other real time implementation of MPEG Audio encoders were available for the purpose of digital broadcasting (radio DAB, television DVB) towards consumer receivers and set top boxes.

A reference simulation software implementation, written in the <hl> C <hl> language and later known as ISO 11172-5, was developed (in 1991–1996) by the members of the ISO MPEG Audio committee in order to produce bit compliant MPEG Audio files (Layer 1, Layer 2, Layer 3). It was approved as a committee draft of ISO/IEC technical report in March 1994 and printed as document CD 11172-5 in April 1994. It was approved as a draft technical report (DTR/DIS) in November 1994, finalized in 1996 and published as international standard ISO/IEC TR 11172-5:1998 in 1998. The reference software in C language was later published as a freely available ISO standard. Working in non-real time on a number of operating systems, it was able to demonstrate the first real time hardware decoding (DSP based) of compressed audio. Some other real time implementation of MPEG Audio encoders were available for the purpose of digital broadcasting (radio DAB, television DVB) towards consumer receivers and set top boxes.


Question: When was the reference software approved?

Answer: March 1994

A reference simulation software implementation, written in the C language and later known as ISO 11172-5, was developed (in 1991–1996) by the members of the ISO MPEG Audio committee in order to produce bit compliant MPEG Audio files (Layer 1, Layer 2, Layer 3). <hl> It was approved as a committee draft of ISO/IEC technical report in March 1994 and printed as document CD 11172-5 in April 1994. <hl> It was approved as a draft technical report (DTR/DIS) in November 1994, finalized in 1996 and published as international standard ISO/IEC TR 11172-5:1998 in 1998. The reference software in C language was later published as a freely available ISO standard. Working in non-real time on a number of operating systems, it was able to demonstrate the first real time hardware decoding (DSP based) of compressed audio. Some other real time implementation of MPEG Audio encoders were available for the purpose of digital broadcasting (radio DAB, television DVB) towards consumer receivers and set top boxes.

A reference simulation software implementation, written in the C language and later known as ISO 11172-5, was developed (in 1991–1996) by the members of the ISO MPEG Audio committee in order to produce bit compliant MPEG Audio files (Layer 1, Layer 2, Layer 3). It was approved as a committee draft of ISO/IEC technical report in <hl> March 1994 <hl> and printed as document CD 11172-5 in April 1994. It was approved as a draft technical report (DTR/DIS) in November 1994, finalized in 1996 and published as international standard ISO/IEC TR 11172-5:1998 in 1998. The reference software in C language was later published as a freely available ISO standard. Working in non-real time on a number of operating systems, it was able to demonstrate the first real time hardware decoding (DSP based) of compressed audio. Some other real time implementation of MPEG Audio encoders were available for the purpose of digital broadcasting (radio DAB, television DVB) towards consumer receivers and set top boxes.


Question: When did the reference software become an international standard?

Answer: 1998

A reference simulation software implementation, written in the C language and later known as ISO 11172-5, was developed (in 1991–1996) by the members of the ISO MPEG Audio committee in order to produce bit compliant MPEG Audio files (Layer 1, Layer 2, Layer 3). It was approved as a committee draft of ISO/IEC technical report in March 1994 and printed as document CD 11172-5 in April 1994. <hl> It was approved as a draft technical report (DTR/DIS) in November 1994, finalized in 1996 and published as international standard ISO/IEC TR 11172-5: 1998 in 1998. <hl> The reference software in C language was later published as a freely available ISO standard. Working in non-real time on a number of operating systems, it was able to demonstrate the first real time hardware decoding (DSP based) of compressed audio. Some other real time implementation of MPEG Audio encoders were available for the purpose of digital broadcasting (radio DAB, television DVB) towards consumer receivers and set top boxes.

A reference simulation software implementation, written in the C language and later known as ISO 11172-5, was developed (in 1991–1996) by the members of the ISO MPEG Audio committee in order to produce bit compliant MPEG Audio files (Layer 1, Layer 2, Layer 3). It was approved as a committee draft of ISO/IEC technical report in March 1994 and printed as document CD 11172-5 in April 1994. It was approved as a draft technical report (DTR/DIS) in November 1994, finalized in 1996 and published as international standard ISO/IEC TR 11172-5:<hl> 1998 <hl> in 1998. The reference software in C language was later published as a freely available ISO standard. Working in non-real time on a number of operating systems, it was able to demonstrate the first real time hardware decoding (DSP based) of compressed audio. Some other real time implementation of MPEG Audio encoders were available for the purpose of digital broadcasting (radio DAB, television DVB) towards consumer receivers and set top boxes.

It was approved as a draft technical report (DTR/DIS) in November 1994, finalized in 1996 and published as international standard ISO/IEC TR 11172-5: <hl> 1998 <hl> in 1998.


Question: What could the reference software demonstrate?

Answer: real time hardware decoding

A reference simulation software implementation, written in the C language and later known as ISO 11172-5, was developed (in 1991–1996) by the members of the ISO MPEG Audio committee in order to produce bit compliant MPEG Audio files (Layer 1, Layer 2, Layer 3). It was approved as a committee draft of ISO/IEC technical report in March 1994 and printed as document CD 11172-5 in April 1994. It was approved as a draft technical report (DTR/DIS) in November 1994, finalized in 1996 and published as international standard ISO/IEC TR 11172-5:1998 in 1998. The reference software in C language was later published as a freely available ISO standard. <hl> Working in non-real time on a number of operating systems, it was able to demonstrate the first real time hardware decoding (DSP based) of compressed audio. <hl> Some other real time implementation of MPEG Audio encoders were available for the purpose of digital broadcasting (radio DAB, television DVB) towards consumer receivers and set top boxes.

A reference simulation software implementation, written in the C language and later known as ISO 11172-5, was developed (in 1991–1996) by the members of the ISO MPEG Audio committee in order to produce bit compliant MPEG Audio files (Layer 1, Layer 2, Layer 3). It was approved as a committee draft of ISO/IEC technical report in March 1994 and printed as document CD 11172-5 in April 1994. It was approved as a draft technical report (DTR/DIS) in November 1994, finalized in 1996 and published as international standard ISO/IEC TR 11172-5:1998 in 1998. The reference software in C language was later published as a freely available ISO standard. Working in non-real time on a number of operating systems, it was able to demonstrate the first <hl> real time hardware decoding <hl> (DSP based) of compressed audio. Some other real time implementation of MPEG Audio encoders were available for the purpose of digital broadcasting (radio DAB, television DVB) towards consumer receivers and set top boxes.


Question: When was the first software MP3 encoder released?

On 7 July 1994, the Fraunhofer Society released the first software MP3 encoder called l3enc. The filename extension .mp3 was chosen by the Fraunhofer team on 14 July 1995 (previously, the files had been named .bit). With the first real-time software MP3 player WinPlay3 (released 9 September 1995) many people were able to encode and play back MP3 files on their PCs. Because of the relatively small hard drives back in that time (~ 500–1000 MB) lossy compression was essential to store non-instrument based (see tracker and MIDI) music for playback on computer.

Answer: 7 July 1994

<hl> On 7 July 1994 , the Fraunhofer Society released the first software MP3 encoder called l3enc. <hl> The filename extension .mp3 was chosen by the Fraunhofer team on 14 July 1995 (previously, the files had been named .bit). With the first real-time software MP3 player WinPlay3 (released 9 September 1995) many people were able to encode and play back MP3 files on their PCs. Because of the relatively small hard drives back in that time (~ 500–1000 MB) lossy compression was essential to store non-instrument based (see tracker and MIDI) music for playback on computer.

On <hl> 7 July 1994 <hl>, the Fraunhofer Society released the first software MP3 encoder called l3enc. The filename extension .mp3 was chosen by the Fraunhofer team on 14 July 1995 (previously, the files had been named .bit). With the first real-time software MP3 player WinPlay3 (released 9 September 1995) many people were able to encode and play back MP3 files on their PCs. Because of the relatively small hard drives back in that time (~ 500–1000 MB) lossy compression was essential to store non-instrument based (see tracker and MIDI) music for playback on computer.

On <hl> 7 July 1994 <hl> , the Fraunhofer Society released the first software MP3 encoder called l3enc.


Question: What was the name of the first software MP3 encoder?

Answer: l3enc

<hl> On 7 July 1994, the Fraunhofer Society released the first software MP3 encoder called l3enc . <hl> The filename extension .mp3 was chosen by the Fraunhofer team on 14 July 1995 (previously, the files had been named .bit). With the first real-time software MP3 player WinPlay3 (released 9 September 1995) many people were able to encode and play back MP3 files on their PCs. Because of the relatively small hard drives back in that time (~ 500–1000 MB) lossy compression was essential to store non-instrument based (see tracker and MIDI) music for playback on computer.

On 7 July 1994, the Fraunhofer Society released the first software MP3 encoder called <hl> l3enc <hl>. The filename extension .mp3 was chosen by the Fraunhofer team on 14 July 1995 (previously, the files had been named .bit). With the first real-time software MP3 player WinPlay3 (released 9 September 1995) many people were able to encode and play back MP3 files on their PCs. Because of the relatively small hard drives back in that time (~ 500–1000 MB) lossy compression was essential to store non-instrument based (see tracker and MIDI) music for playback on computer.

On 7 July 1994, the Fraunhofer Society released the first software MP3 encoder called <hl> l3enc <hl> .


Question: What was the filename extension?

Answer: .mp3

On 7 July 1994, the Fraunhofer Society released the first software MP3 encoder called l3enc. <hl> The filename extension .mp3 was chosen by the Fraunhofer team on 14 July 1995 (previously, the files had been named .bit). <hl> With the first real-time software MP3 player WinPlay3 (released 9 September 1995) many people were able to encode and play back MP3 files on their PCs. Because of the relatively small hard drives back in that time (~ 500–1000 MB) lossy compression was essential to store non-instrument based (see tracker and MIDI) music for playback on computer.

On 7 July 1994, the Fraunhofer Society released the first software MP3 encoder called l3enc. The filename extension <hl> .mp3 <hl> was chosen by the Fraunhofer team on 14 July 1995 (previously, the files had been named .bit). With the first real-time software MP3 player WinPlay3 (released 9 September 1995) many people were able to encode and play back MP3 files on their PCs. Because of the relatively small hard drives back in that time (~ 500–1000 MB) lossy compression was essential to store non-instrument based (see tracker and MIDI) music for playback on computer.


Question: What was the name of the first real-time software MP3 player?

Answer: WinPlay3

On 7 July 1994, the Fraunhofer Society released the first software MP3 encoder called l3enc. The filename extension .mp3 was chosen by the Fraunhofer team on 14 July 1995 (previously, the files had been named .bit). <hl> With the first real-time software MP3 player WinPlay3 (released 9 September 1995) <hl> many people were able to encode and play back MP3 files on their PCs. Because of the relatively small hard drives back in that time (~ 500–1000 MB) lossy compression was essential to store non-instrument based (see tracker and MIDI) music for playback on computer.

On 7 July 1994, the Fraunhofer Society released the first software MP3 encoder called l3enc. The filename extension .mp3 was chosen by the Fraunhofer team on 14 July 1995 (previously, the files had been named .bit). With the first real-time software MP3 player <hl> WinPlay3 <hl> (released 9 September 1995) many people were able to encode and play back MP3 files on their PCs. Because of the relatively small hard drives back in that time (~ 500–1000 MB) lossy compression was essential to store non-instrument based (see tracker and MIDI) music for playback on computer.


Question: What was the average high end hard drive size?

Answer: 1000 MB

On 7 July 1994, the Fraunhofer Society released the first software MP3 encoder called l3enc. The filename extension .mp3 was chosen by the Fraunhofer team on 14 July 1995 (previously, the files had been named .bit). With the first real-time software MP3 player WinPlay3 (released 9 September 1995) many people were able to encode and play back MP3 files on their PCs. <hl> Because of the relatively small hard drives back in that time (~ 500– 1000 MB ) lossy compression was essential to store non-instrument based (see tracker and MIDI) music for playback on computer. <hl>

On 7 July 1994, the Fraunhofer Society released the first software MP3 encoder called l3enc. The filename extension .mp3 was chosen by the Fraunhofer team on 14 July 1995 (previously, the files had been named .bit). With the first real-time software MP3 player WinPlay3 (released 9 September 1995) many people were able to encode and play back MP3 files on their PCs. Because of the relatively small hard drives back in that time (~ 500–<hl> 1000 MB <hl>) lossy compression was essential to store non-instrument based (see tracker and MIDI) music for playback on computer.

Because of the relatively small hard drives back in that time (~ 500– <hl> 1000 MB <hl> ) lossy compression was essential to store non-instrument based (see tracker and MIDI) music for playback on computer.


Question: What was Jonathan Sterne's profession?

As sound scholar Jonathan Sterne notes, "An Australian hacker acquired l3enc using a stolen credit card. The hacker then reverse-engineered the software, wrote a new user interface, and redistributed it for free, naming it "thank you Fraunhofer"".

Answer: sound scholar

<hl> As sound scholar Jonathan Sterne notes, "An Australian hacker acquired l3enc using a stolen credit card. <hl> The hacker then reverse-engineered the software, wrote a new user interface, and redistributed it for free, naming it "thank you Fraunhofer"".

As <hl> sound scholar <hl> Jonathan Sterne notes, "An Australian hacker acquired l3enc using a stolen credit card. The hacker then reverse-engineered the software, wrote a new user interface, and redistributed it for free, naming it "thank you Fraunhofer"".


Question: Which nationality was the hacker who acquired I3enc?

Answer: Australian

<hl> As sound scholar Jonathan Sterne notes, "An Australian hacker acquired l3enc using a stolen credit card. <hl> The hacker then reverse-engineered the software, wrote a new user interface, and redistributed it for free, naming it "thank you Fraunhofer"".

As sound scholar Jonathan Sterne notes, "An <hl> Australian <hl> hacker acquired l3enc using a stolen credit card. The hacker then reverse-engineered the software, wrote a new user interface, and redistributed it for free, naming it "thank you Fraunhofer"".


Question: What did the hacker use to acquire the software?

Answer: stolen credit card

<hl> As sound scholar Jonathan Sterne notes, "An Australian hacker acquired l3enc using a stolen credit card . <hl> The hacker then reverse-engineered the software, wrote a new user interface, and redistributed it for free, naming it "thank you Fraunhofer"".

As sound scholar Jonathan Sterne notes, "An Australian hacker acquired l3enc using a <hl> stolen credit card <hl>. The hacker then reverse-engineered the software, wrote a new user interface, and redistributed it for free, naming it "thank you Fraunhofer"".

As sound scholar Jonathan Sterne notes, "An Australian hacker acquired l3enc using a <hl> stolen credit card <hl> .


Question: The hacker re-wrote which element of the program?

Answer: user interface

As sound scholar Jonathan Sterne notes, "An Australian hacker acquired l3enc using a stolen credit card. <hl> The hacker then reverse-engineered the software, wrote a new user interface , and redistributed it for free, naming it "thank you Fraunhofer"". <hl>

As sound scholar Jonathan Sterne notes, "An Australian hacker acquired l3enc using a stolen credit card. The hacker then reverse-engineered the software, wrote a new <hl> user interface <hl>, and redistributed it for free, naming it "thank you Fraunhofer"".

The hacker then reverse-engineered the software, wrote a new <hl> user interface <hl> , and redistributed it for free, naming it "thank you Fraunhofer"".


Question: How much did the new released program by the hacker cost?

Answer: free

As sound scholar Jonathan Sterne notes, "An Australian hacker acquired l3enc using a stolen credit card. <hl> The hacker then reverse-engineered the software, wrote a new user interface, and redistributed it for free , naming it "thank you Fraunhofer"". <hl>

As sound scholar Jonathan Sterne notes, "An Australian hacker acquired l3enc using a stolen credit card. The hacker then reverse-engineered the software, wrote a new user interface, and redistributed it for <hl> free <hl>, naming it "thank you Fraunhofer"".

The hacker then reverse-engineered the software, wrote a new user interface, and redistributed it for <hl> free <hl> , naming it "thank you Fraunhofer"".


Question: Where did MP3s begin to spread?

In the second half of '90s, MP3 files began to spread on the Internet. The popularity of MP3s began to rise rapidly with the advent of Nullsoft's audio player Winamp, released in 1997. In 1998, the first portable solid state digital audio player MPMan, developed by SaeHan Information Systems which is headquartered in Seoul, South Korea, was released and the Rio PMP300 was sold afterwards in 1998, despite legal suppression efforts by the RIAA.

Answer: the Internet

<hl> In the second half of '90s, MP3 files began to spread on the Internet . <hl> The popularity of MP3s began to rise rapidly with the advent of Nullsoft's audio player Winamp, released in 1997. In 1998, the first portable solid state digital audio player MPMan, developed by SaeHan Information Systems which is headquartered in Seoul, South Korea, was released and the Rio PMP300 was sold afterwards in 1998, despite legal suppression efforts by the RIAA.

In the second half of '90s, MP3 files began to spread on <hl> the Internet <hl>. The popularity of MP3s began to rise rapidly with the advent of Nullsoft's audio player Winamp, released in 1997. In 1998, the first portable solid state digital audio player MPMan, developed by SaeHan Information Systems which is headquartered in Seoul, South Korea, was released and the Rio PMP300 was sold afterwards in 1998, despite legal suppression efforts by the RIAA.

In the second half of '90s, MP3 files began to spread on <hl> the Internet <hl> .


Question: Which audio player was released in 1997?

Answer: Winamp

In the second half of '90s, MP3 files began to spread on the Internet. <hl> The popularity of MP3s began to rise rapidly with the advent of Nullsoft's audio player Winamp , released in 1997. <hl> In 1998, the first portable solid state digital audio player MPMan, developed by SaeHan Information Systems which is headquartered in Seoul, South Korea, was released and the Rio PMP300 was sold afterwards in 1998, despite legal suppression efforts by the RIAA.

In the second half of '90s, MP3 files began to spread on the Internet. The popularity of MP3s began to rise rapidly with the advent of Nullsoft's audio player <hl> Winamp <hl>, released in 1997. In 1998, the first portable solid state digital audio player MPMan, developed by SaeHan Information Systems which is headquartered in Seoul, South Korea, was released and the Rio PMP300 was sold afterwards in 1998, despite legal suppression efforts by the RIAA.

The popularity of MP3s began to rise rapidly with the advent of Nullsoft's audio player <hl> Winamp <hl> , released in 1997.


Question: Who released the audio player?

Answer: Nullsoft

In the second half of '90s, MP3 files began to spread on the Internet. <hl> The popularity of MP3s began to rise rapidly with the advent of Nullsoft 's <hl> audio player Winamp, released in 1997. In 1998, the first portable solid state digital audio player MPMan, developed by SaeHan Information Systems which is headquartered in Seoul, South Korea, was released and the Rio PMP300 was sold afterwards in 1998, despite legal suppression efforts by the RIAA.

In the second half of '90s, MP3 files began to spread on the Internet. The popularity of MP3s began to rise rapidly with the advent of <hl> Nullsoft <hl>'s audio player Winamp, released in 1997. In 1998, the first portable solid state digital audio player MPMan, developed by SaeHan Information Systems which is headquartered in Seoul, South Korea, was released and the Rio PMP300 was sold afterwards in 1998, despite legal suppression efforts by the RIAA.

The popularity of MP3s began to rise rapidly with the advent of <hl> Nullsoft <hl> 's


Question: What was the name of the first portable solid state digital audio player?

Answer: MPMan

In the second half of '90s, MP3 files began to spread on the Internet. The popularity of MP3s began to rise rapidly with the advent of Nullsoft's audio player Winamp, released in 1997. <hl> In 1998, the first portable solid state digital audio player MPMan , developed by SaeHan Information Systems which is headquartered in Seoul, South Korea, was released and the Rio PMP300 was sold afterwards in 1998, despite legal suppression efforts by the RIAA. <hl>

In the second half of '90s, MP3 files began to spread on the Internet. The popularity of MP3s began to rise rapidly with the advent of Nullsoft's audio player Winamp, released in 1997. In 1998, the first portable solid state digital audio player <hl> MPMan <hl>, developed by SaeHan Information Systems which is headquartered in Seoul, South Korea, was released and the Rio PMP300 was sold afterwards in 1998, despite legal suppression efforts by the RIAA.

In 1998, the first portable solid state digital audio player <hl> MPMan <hl> , developed by SaeHan Information Systems which is headquartered in Seoul, South Korea, was released and the Rio PMP300 was sold afterwards in 1998, despite legal suppression efforts by the RIAA.


Question: In which country was the first portable audio player developed?

Answer: South Korea

In the second half of '90s, MP3 files began to spread on the Internet. The popularity of MP3s began to rise rapidly with the advent of Nullsoft's audio player Winamp, released in 1997. <hl> In 1998, the first portable solid state digital audio player MPMan, developed by SaeHan Information Systems which is headquartered in Seoul, South Korea , was released and the Rio PMP300 was sold afterwards in 1998, despite legal suppression efforts by the RIAA. <hl>

In the second half of '90s, MP3 files began to spread on the Internet. The popularity of MP3s began to rise rapidly with the advent of Nullsoft's audio player Winamp, released in 1997. In 1998, the first portable solid state digital audio player MPMan, developed by SaeHan Information Systems which is headquartered in Seoul, <hl> South Korea <hl>, was released and the Rio PMP300 was sold afterwards in 1998, despite legal suppression efforts by the RIAA.

In 1998, the first portable solid state digital audio player MPMan, developed by SaeHan Information Systems which is headquartered in Seoul, <hl> South Korea <hl> , was released and the Rio PMP300 was sold afterwards in 1998, despite legal suppression efforts by the RIAA.


Question: Which website offered MP3s for free?

In November 1997, the website mp3.com was offering thousands of MP3s created by independent artists for free. The small size of MP3 files enabled widespread peer-to-peer file sharing of music ripped from CDs, which would have previously been nearly impossible. The first large peer-to-peer filesharing network, Napster, was launched in 1999.

Answer: mp3.com

<hl> In November 1997, the website mp3.com was offering thousands of MP3s created by independent artists for free. <hl> The small size of MP3 files enabled widespread peer-to-peer file sharing of music ripped from CDs, which would have previously been nearly impossible. The first large peer-to-peer filesharing network, Napster, was launched in 1999.

In November 1997, the website <hl> mp3.com <hl> was offering thousands of MP3s created by independent artists for free. The small size of MP3 files enabled widespread peer-to-peer file sharing of music ripped from CDs, which would have previously been nearly impossible. The first large peer-to-peer filesharing network, Napster, was launched in 1999.


Question: How many MP3s were offered for free by the website?

Answer: thousands

<hl> In November 1997, the website mp3.com was offering thousands of MP3s created by independent artists for free. <hl> The small size of MP3 files enabled widespread peer-to-peer file sharing of music ripped from CDs, which would have previously been nearly impossible. The first large peer-to-peer filesharing network, Napster, was launched in 1999.

In November 1997, the website mp3.com was offering <hl> thousands <hl> of MP3s created by independent artists for free. The small size of MP3 files enabled widespread peer-to-peer file sharing of music ripped from CDs, which would have previously been nearly impossible. The first large peer-to-peer filesharing network, Napster, was launched in 1999.


Question: What kind of file sharing became popular due to the file sizes of MP3s?

Answer: peer-to-peer

In November 1997, the website mp3.com was offering thousands of MP3s created by independent artists for free. <hl> The small size of MP3 files enabled widespread peer-to-peer file sharing of music ripped from CDs, which would have previously been nearly impossible. <hl> The first large peer-to-peer filesharing network, Napster, was launched in 1999.

In November 1997, the website mp3.com was offering thousands of MP3s created by independent artists for free. The small size of MP3 files enabled widespread <hl> peer-to-peer <hl> file sharing of music ripped from CDs, which would have previously been nearly impossible. The first large peer-to-peer filesharing network, Napster, was launched in 1999.


Question: How did people come into possession of MP3s?

Answer: ripped from CDs

In November 1997, the website mp3.com was offering thousands of MP3s created by independent artists for free. <hl> The small size of MP3 files enabled widespread peer-to-peer file sharing of music ripped from CDs , which would have previously been nearly impossible. <hl> The first large peer-to-peer filesharing network, Napster, was launched in 1999.

In November 1997, the website mp3.com was offering thousands of MP3s created by independent artists for free. The small size of MP3 files enabled widespread peer-to-peer file sharing of music <hl> ripped from CDs <hl>, which would have previously been nearly impossible. The first large peer-to-peer filesharing network, Napster, was launched in 1999.

The small size of MP3 files enabled widespread peer-to-peer file sharing of music <hl> ripped from CDs <hl> , which would have previously been nearly impossible.


Question: Which network was the first large peer to peer file sharing network?

Answer: Napster

In November 1997, the website mp3.com was offering thousands of MP3s created by independent artists for free. The small size of MP3 files enabled widespread peer-to-peer file sharing of music ripped from CDs, which would have previously been nearly impossible. <hl> The first large peer-to-peer filesharing network, Napster , was launched in 1999. <hl>

In November 1997, the website mp3.com was offering thousands of MP3s created by independent artists for free. The small size of MP3 files enabled widespread peer-to-peer file sharing of music ripped from CDs, which would have previously been nearly impossible. The first large peer-to-peer filesharing network, <hl> Napster <hl>, was launched in 1999.

The first large peer-to-peer filesharing network, <hl> Napster <hl> , was launched in 1999.


Question: What kind of infringement resulted from sharing MP3s?

The ease of creating and sharing MP3s resulted in widespread copyright infringement. Major record companies argued that this free sharing of music reduced sales, and called it "music piracy". They reacted by pursuing lawsuits against Napster (which was eventually shut down and later sold) and against individual users who engaged in file sharing.

Answer: copyright

<hl> The ease of creating and sharing MP3s resulted in widespread copyright infringement. <hl> Major record companies argued that this free sharing of music reduced sales, and called it "music piracy". They reacted by pursuing lawsuits against Napster (which was eventually shut down and later sold) and against individual users who engaged in file sharing.

The ease of creating and sharing MP3s resulted in widespread <hl> copyright <hl> infringement. Major record companies argued that this free sharing of music reduced sales, and called it "music piracy". They reacted by pursuing lawsuits against Napster (which was eventually shut down and later sold) and against individual users who engaged in file sharing.


Question: What name did the record companies associate with MP3 file sharing?

Answer: music piracy

The ease of creating and sharing MP3s resulted in widespread copyright infringement. <hl> Major record companies argued that this free sharing of music reduced sales, and called it " music piracy ". <hl> They reacted by pursuing lawsuits against Napster (which was eventually shut down and later sold) and against individual users who engaged in file sharing.

The ease of creating and sharing MP3s resulted in widespread copyright infringement. Major record companies argued that this free sharing of music reduced sales, and called it "<hl> music piracy <hl>". They reacted by pursuing lawsuits against Napster (which was eventually shut down and later sold) and against individual users who engaged in file sharing.

Major record companies argued that this free sharing of music reduced sales, and called it " <hl> music piracy <hl> ".


Question: Who was the target of the record companies?

Answer: Napster

The ease of creating and sharing MP3s resulted in widespread copyright infringement. Major record companies argued that this free sharing of music reduced sales, and called it "music piracy". <hl> They reacted by pursuing lawsuits against Napster (which was eventually shut down and later sold) and against individual users who engaged in file sharing. <hl>

The ease of creating and sharing MP3s resulted in widespread copyright infringement. Major record companies argued that this free sharing of music reduced sales, and called it "music piracy". They reacted by pursuing lawsuits against <hl> Napster <hl> (which was eventually shut down and later sold) and against individual users who engaged in file sharing.


Question: What happened to Napster?

Answer: shut down and later sold

The ease of creating and sharing MP3s resulted in widespread copyright infringement. Major record companies argued that this free sharing of music reduced sales, and called it "music piracy". <hl> They reacted by pursuing lawsuits against Napster (which was eventually shut down and later sold ) and against individual users who engaged in file sharing. <hl>

The ease of creating and sharing MP3s resulted in widespread copyright infringement. Major record companies argued that this free sharing of music reduced sales, and called it "music piracy". They reacted by pursuing lawsuits against Napster (which was eventually <hl> shut down and later sold <hl>) and against individual users who engaged in file sharing.

They reacted by pursuing lawsuits against Napster (which was eventually <hl> shut down and later sold <hl> ) and against individual users who engaged in file sharing.


Question: What kind of MP3 file sharing continues on?

Unauthorized MP3 file sharing continues on next-generation peer-to-peer networks. Some authorized services, such as Beatport, Bleep, Juno Records, eMusic, Zune Marketplace, Walmart.com, Rhapsody, the recording industry approved re-incarnation of Napster, and Amazon.com sell unrestricted music in the MP3 format.

Answer: Unauthorized

<hl> Unauthorized MP3 file sharing continues on next-generation peer-to-peer networks. <hl> Some authorized services, such as Beatport, Bleep, Juno Records, eMusic, Zune Marketplace, Walmart.com, Rhapsody, the recording industry approved re-incarnation of Napster, and Amazon.com sell unrestricted music in the MP3 format.

<hl> Unauthorized <hl> MP3 file sharing continues on next-generation peer-to-peer networks. Some authorized services, such as Beatport, Bleep, Juno Records, eMusic, Zune Marketplace, Walmart.com, Rhapsody, the recording industry approved re-incarnation of Napster, and Amazon.com sell unrestricted music in the MP3 format.


Question: Beatport, Bleep and Juno records are examples of what kind of service?

Answer: authorized

<hl> Un authorized MP3 file sharing continues on next-generation peer-to-peer networks. <hl> Some authorized services, such as Beatport, Bleep, Juno Records, eMusic, Zune Marketplace, Walmart.com, Rhapsody, the recording industry approved re-incarnation of Napster, and Amazon.com sell unrestricted music in the MP3 format.

Un<hl> authorized <hl> MP3 file sharing continues on next-generation peer-to-peer networks. Some authorized services, such as Beatport, Bleep, Juno Records, eMusic, Zune Marketplace, Walmart.com, Rhapsody, the recording industry approved re-incarnation of Napster, and Amazon.com sell unrestricted music in the MP3 format.

Un <hl> authorized <hl> MP3 file sharing continues on next-generation peer-to-peer networks.


Question: What kind of music is sold by these companies?

Answer: unrestricted

Unauthorized MP3 file sharing continues on next-generation peer-to-peer networks. <hl> Some authorized services, such as Beatport, Bleep, Juno Records, eMusic, Zune Marketplace, Walmart.com, Rhapsody, the recording industry approved re-incarnation of Napster, and Amazon.com sell unrestricted music in the MP3 format. <hl>

Unauthorized MP3 file sharing continues on next-generation peer-to-peer networks. Some authorized services, such as Beatport, Bleep, Juno Records, eMusic, Zune Marketplace, Walmart.com, Rhapsody, the recording industry approved re-incarnation of Napster, and Amazon.com sell <hl> unrestricted <hl> music in the MP3 format.


Question: Which format is used by the companies that sell the music legally?

Answer: MP3

<hl> Unauthorized MP3 file sharing continues on next-generation peer-to-peer networks. <hl> Some authorized services, such as Beatport, Bleep, Juno Records, eMusic, Zune Marketplace, Walmart.com, Rhapsody, the recording industry approved re-incarnation of Napster, and Amazon.com sell unrestricted music in the MP3 format.

Unauthorized <hl> MP3 <hl> file sharing continues on next-generation peer-to-peer networks. Some authorized services, such as Beatport, Bleep, Juno Records, eMusic, Zune Marketplace, Walmart.com, Rhapsody, the recording industry approved re-incarnation of Napster, and Amazon.com sell unrestricted music in the MP3 format.


Question: A header and data block together make up what?

An MP3 file is made up of MP3 frames, which consist of a header and a data block. This sequence of frames is called an elementary stream. Due to the "byte reservoir", frames are not independent items and cannot usually be extracted on arbitrary frame boundaries. The MP3 Data blocks contain the (compressed) audio information in terms of frequencies and amplitudes. The diagram shows that the MP3 Header consists of a sync word, which is used to identify the beginning of a valid frame. This is followed by a bit indicating that this is the MPEG standard and two bits that indicate that layer 3 is used; hence MPEG-1 Audio Layer 3 or MP3. After this, the values will differ, depending on the MP3 file. ISO/IEC 11172-3 defines the range of values for each section of the header along with the specification of the header. Most MP3 files today contain ID3 metadata, which precedes or follows the MP3 frames, as noted in the diagram.

Answer: MP3 frames

<hl> An MP3 file is made up of MP3 frames , which consist of a header and a data block. <hl> This sequence of frames is called an elementary stream. Due to the "byte reservoir", frames are not independent items and cannot usually be extracted on arbitrary frame boundaries. The MP3 Data blocks contain the (compressed) audio information in terms of frequencies and amplitudes. The diagram shows that the MP3 Header consists of a sync word, which is used to identify the beginning of a valid frame. This is followed by a bit indicating that this is the MPEG standard and two bits that indicate that layer 3 is used; hence MPEG-1 Audio Layer 3 or MP3. After this, the values will differ, depending on the MP3 file. ISO/IEC 11172-3 defines the range of values for each section of the header along with the specification of the header. Most MP3 files today contain ID3 metadata, which precedes or follows the MP3 frames, as noted in the diagram.

An MP3 file is made up of <hl> MP3 frames <hl>, which consist of a header and a data block. This sequence of frames is called an elementary stream. Due to the "byte reservoir", frames are not independent items and cannot usually be extracted on arbitrary frame boundaries. The MP3 Data blocks contain the (compressed) audio information in terms of frequencies and amplitudes. The diagram shows that the MP3 Header consists of a sync word, which is used to identify the beginning of a valid frame. This is followed by a bit indicating that this is the MPEG standard and two bits that indicate that layer 3 is used; hence MPEG-1 Audio Layer 3 or MP3. After this, the values will differ, depending on the MP3 file. ISO/IEC 11172-3 defines the range of values for each section of the header along with the specification of the header. Most MP3 files today contain ID3 metadata, which precedes or follows the MP3 frames, as noted in the diagram.

An MP3 file is made up of <hl> MP3 frames <hl> , which consist of a header and a data block.


Question: What is a sequence of MP3 frames called?

Answer: elementary stream

An MP3 file is made up of MP3 frames, which consist of a header and a data block. <hl> This sequence of frames is called an elementary stream . <hl> Due to the "byte reservoir", frames are not independent items and cannot usually be extracted on arbitrary frame boundaries. The MP3 Data blocks contain the (compressed) audio information in terms of frequencies and amplitudes. The diagram shows that the MP3 Header consists of a sync word, which is used to identify the beginning of a valid frame. This is followed by a bit indicating that this is the MPEG standard and two bits that indicate that layer 3 is used; hence MPEG-1 Audio Layer 3 or MP3. After this, the values will differ, depending on the MP3 file. ISO/IEC 11172-3 defines the range of values for each section of the header along with the specification of the header. Most MP3 files today contain ID3 metadata, which precedes or follows the MP3 frames, as noted in the diagram.

An MP3 file is made up of MP3 frames, which consist of a header and a data block. This sequence of frames is called an <hl> elementary stream <hl>. Due to the "byte reservoir", frames are not independent items and cannot usually be extracted on arbitrary frame boundaries. The MP3 Data blocks contain the (compressed) audio information in terms of frequencies and amplitudes. The diagram shows that the MP3 Header consists of a sync word, which is used to identify the beginning of a valid frame. This is followed by a bit indicating that this is the MPEG standard and two bits that indicate that layer 3 is used; hence MPEG-1 Audio Layer 3 or MP3. After this, the values will differ, depending on the MP3 file. ISO/IEC 11172-3 defines the range of values for each section of the header along with the specification of the header. Most MP3 files today contain ID3 metadata, which precedes or follows the MP3 frames, as noted in the diagram.

This sequence of frames is called an <hl> elementary stream <hl> .


Question: What is used to identify the begining of a valid frame of an MP3 header?

Answer: dard

An MP3 file is made up of MP3 frames, which consist of a header and a data block. This sequence of frames is called an elementary stream. Due to the "byte reservoir", frames are not independent items and cannot usually be extracted on arbitrary frame boundaries. The MP3 Data blocks contain the (compressed) audio information in terms of frequencies and amplitudes. The diagram shows that the MP3 Header consists of a sync word, which is used to identify the beginning of a valid frame. <hl> This is followed by a bit indicating that this is the MPEG stan dard and two bits that indicate that layer 3 is used; hence MPEG-1 Audio Layer 3 or MP3. <hl> After this, the values will differ, depending on the MP3 file. ISO/IEC 11172-3 defines the range of values for each section of the header along with the specification of the header. Most MP3 files today contain ID3 metadata, which precedes or follows the MP3 frames, as noted in the diagram.

An MP3 file is made up of MP3 frames, which consist of a header and a data block. This sequence of frames is called an elementary stream. Due to the "byte reservoir", frames are not independent items and cannot usually be extracted on arbitrary frame boundaries. The MP3 Data blocks contain the (compressed) audio information in terms of frequencies and amplitudes. The diagram shows that the MP3 Header consists of a sync word, which is used to identify the beginning of a valid frame. This is followed by a bit indicating that this is the MPEG stan<hl> dard <hl> and two bits that indicate that layer 3 is used; hence MPEG-1 Audio Layer 3 or MP3. After this, the values will differ, depending on the MP3 file. ISO/IEC 11172-3 defines the range of values for each section of the header along with the specification of the header. Most MP3 files today contain ID3 metadata, which precedes or follows the MP3 frames, as noted in the diagram.

This is followed by a bit indicating that this is the MPEG stan <hl> dard <hl> and two bits that indicate that layer 3 is used; hence MPEG-1 Audio Layer 3 or MP3.


Question: How many bits are needed to indicate that layer 3 is used?

Answer: two

An MP3 file is made up of MP3 frames, which consist of a header and a data block. This sequence of frames is called an elementary stream. Due to the "byte reservoir", frames are not independent items and cannot usually be extracted on arbitrary frame boundaries. The MP3 Data blocks contain the (compressed) audio information in terms of frequencies and amplitudes. The diagram shows that the MP3 Header consists of a sync word, which is used to identify the beginning of a valid frame. <hl> This is followed by a bit indicating that this is the MPEG standard and two bits that indicate that layer 3 is used; hence MPEG-1 Audio Layer 3 or MP3. <hl> After this, the values will differ, depending on the MP3 file. ISO/IEC 11172-3 defines the range of values for each section of the header along with the specification of the header. Most MP3 files today contain ID3 metadata, which precedes or follows the MP3 frames, as noted in the diagram.

An MP3 file is made up of MP3 frames, which consist of a header and a data block. This sequence of frames is called an elementary stream. Due to the "byte reservoir", frames are not independent items and cannot usually be extracted on arbitrary frame boundaries. The MP3 Data blocks contain the (compressed) audio information in terms of frequencies and amplitudes. The diagram shows that the MP3 Header consists of a sync word, which is used to identify the beginning of a valid frame. This is followed by a bit indicating that this is the MPEG standard and <hl> two <hl> bits that indicate that layer 3 is used; hence MPEG-1 Audio Layer 3 or MP3. After this, the values will differ, depending on the MP3 file. ISO/IEC 11172-3 defines the range of values for each section of the header along with the specification of the header. Most MP3 files today contain ID3 metadata, which precedes or follows the MP3 frames, as noted in the diagram.