Question: Adding additional metadata allows players to handle gapless playback and deliver what?

Answer: seamless playback

Encoder / decoder overall delay is not defined, which means there is no official provision for gapless playback. <hl> However, some encoders such as LAME can attach additional metadata that will allow players that can handle it to deliver seamless playback . <hl>

Encoder / decoder overall delay is not defined, which means there is no official provision for gapless playback. However, some encoders such as LAME can attach additional metadata that will allow players that can handle it to deliver <hl> seamless playback <hl>.

However, some encoders such as LAME can attach additional metadata that will allow players that can handle it to deliver <hl> seamless playback <hl> .

question: Adding additional metadata allows players to handle gapless playback and deliver what?, context: Encoder / decoder overall delay is not defined, which means there is no official provision for gapless playback. However, some encoders such as LAME can attach additional metadata that will allow players that can handle it to deliver seamless playback.


Question: For encoders and decoders, what is not defined?

Answer: overall delay

<hl> Encoder / decoder overall delay is not defined, which means there is no official provision for gapless playback. <hl> However, some encoders such as LAME can attach additional metadata that will allow players that can handle it to deliver seamless playback.

Encoder / decoder <hl> overall delay <hl> is not defined, which means there is no official provision for gapless playback. However, some encoders such as LAME can attach additional metadata that will allow players that can handle it to deliver seamless playback.

question: For encoders and decoders, what is not defined?, context: Encoder / decoder overall delay is not defined, which means there is no official provision for gapless playback. However, some encoders such as LAME can attach additional metadata that will allow players that can handle it to deliver seamless playback.


Question: A typical trade off when creating an MP3 file is between the amount of space used and what other factor?

Answer: sound quality of the result

<hl> When performing lossy audio encoding, such as creating an MP3 file, there is a trade-off between the amount of space used and the sound quality of the result . <hl> Typically, the creator is allowed to set a bit rate, which specifies how many kilobits the file may use per second of audio. The higher the bit rate, the larger the compressed file will be, and, generally, the closer it will sound to the original file.

When performing lossy audio encoding, such as creating an MP3 file, there is a trade-off between the amount of space used and the <hl> sound quality of the result <hl>. Typically, the creator is allowed to set a bit rate, which specifies how many kilobits the file may use per second of audio. The higher the bit rate, the larger the compressed file will be, and, generally, the closer it will sound to the original file.

When performing lossy audio encoding, such as creating an MP3 file, there is a trade-off between the amount of space used and the <hl> sound quality of the result <hl> .

question: A typical trade off when creating an MP3 file is between the amount of space used and what other factor?, context: When performing lossy audio encoding, such as creating an MP3 file, there is a trade-off between the amount of space used and the sound quality of the result. Typically, the creator is allowed to set a bit rate, which specifies how many kilobits the file may use per second of audio. The higher the bit rate, the larger the compressed file will be, and, generally, the closer it will sound to the original file.


Question: What would an example of lossy audio encoding be?

Answer: creating an MP3 file

<hl> When performing lossy audio encoding, such as creating an MP3 file , there is a trade-off between the amount of space used and the sound quality of the result. <hl> Typically, the creator is allowed to set a bit rate, which specifies how many kilobits the file may use per second of audio. The higher the bit rate, the larger the compressed file will be, and, generally, the closer it will sound to the original file.

When performing lossy audio encoding, such as <hl> creating an MP3 file <hl>, there is a trade-off between the amount of space used and the sound quality of the result. Typically, the creator is allowed to set a bit rate, which specifies how many kilobits the file may use per second of audio. The higher the bit rate, the larger the compressed file will be, and, generally, the closer it will sound to the original file.

When performing lossy audio encoding, such as <hl> creating an MP3 file <hl> , there is a trade-off between the amount of space used and the sound quality of the result.

question: What would an example of lossy audio encoding be?, context: When performing lossy audio encoding, such as creating an MP3 file, there is a trade-off between the amount of space used and the sound quality of the result. Typically, the creator is allowed to set a bit rate, which specifies how many kilobits the file may use per second of audio. The higher the bit rate, the larger the compressed file will be, and, generally, the closer it will sound to the original file.


Question: Who gets to set the bit rate for an MP3 file?

Answer: the creator

When performing lossy audio encoding, such as creating an MP3 file, there is a trade-off between the amount of space used and the sound quality of the result. <hl> Typically, the creator is allowed to set a bit rate, which specifies how many kilobits the file may use per second of audio. <hl> The higher the bit rate, the larger the compressed file will be, and, generally, the closer it will sound to the original file.

When performing lossy audio encoding, such as creating an MP3 file, there is a trade-off between the amount of space used and the sound quality of the result. Typically, <hl> the creator <hl> is allowed to set a bit rate, which specifies how many kilobits the file may use per second of audio. The higher the bit rate, the larger the compressed file will be, and, generally, the closer it will sound to the original file.

question: Who gets to set the bit rate for an MP3 file?, context: When performing lossy audio encoding, such as creating an MP3 file, there is a trade-off between the amount of space used and the sound quality of the result. Typically, the creator is allowed to set a bit rate, which specifies how many kilobits the file may use per second of audio. The higher the bit rate, the larger the compressed file will be, and, generally, the closer it will sound to the original file.


Question: What does the bit rate of the file actually mean?

Answer: how many kilobits the file may use per second of audio

When performing lossy audio encoding, such as creating an MP3 file, there is a trade-off between the amount of space used and the sound quality of the result. <hl> Typically, the creator is allowed to set a bit rate, which specifies how many kilobits the file may use per second of audio . <hl> The higher the bit rate, the larger the compressed file will be, and, generally, the closer it will sound to the original file.

When performing lossy audio encoding, such as creating an MP3 file, there is a trade-off between the amount of space used and the sound quality of the result. Typically, the creator is allowed to set a bit rate, which specifies <hl> how many kilobits the file may use per second of audio <hl>. The higher the bit rate, the larger the compressed file will be, and, generally, the closer it will sound to the original file.

Typically, the creator is allowed to set a bit rate, which specifies <hl> how many kilobits the file may use per second of audio <hl> .

question: What does the bit rate of the file actually mean?, context: When performing lossy audio encoding, such as creating an MP3 file, there is a trade-off between the amount of space used and the sound quality of the result. Typically, the creator is allowed to set a bit rate, which specifies how many kilobits the file may use per second of audio. The higher the bit rate, the larger the compressed file will be, and, generally, the closer it will sound to the original file.


Question: If the bit rate is higher, the size of the compressed file will be what?

Answer: larger

When performing lossy audio encoding, such as creating an MP3 file, there is a trade-off between the amount of space used and the sound quality of the result. Typically, the creator is allowed to set a bit rate, which specifies how many kilobits the file may use per second of audio. <hl> The higher the bit rate, the larger the compressed file will be, and, generally, the closer it will sound to the original file. <hl>

When performing lossy audio encoding, such as creating an MP3 file, there is a trade-off between the amount of space used and the sound quality of the result. Typically, the creator is allowed to set a bit rate, which specifies how many kilobits the file may use per second of audio. The higher the bit rate, the <hl> larger <hl> the compressed file will be, and, generally, the closer it will sound to the original file.

question: If the bit rate is higher, the size of the compressed file will be what?, context: When performing lossy audio encoding, such as creating an MP3 file, there is a trade-off between the amount of space used and the sound quality of the result. Typically, the creator is allowed to set a bit rate, which specifies how many kilobits the file may use per second of audio. The higher the bit rate, the larger the compressed file will be, and, generally, the closer it will sound to the original file.


Question: If the bit rate is too low, what might be audible in the reproduction?

Answer: compression artifacts

<hl> With too low a bit rate, compression artifacts (i.e., sounds that were not present in the original recording) may be audible in the reproduction. <hl> Some audio is hard to compress because of its randomness and sharp attacks. When this type of audio is compressed, artifacts such as ringing or pre-echo are usually heard. A sample of applause compressed with a relatively low bit rate provides a good example of compression artifacts.

With too low a bit rate, <hl> compression artifacts <hl> (i.e., sounds that were not present in the original recording) may be audible in the reproduction. Some audio is hard to compress because of its randomness and sharp attacks. When this type of audio is compressed, artifacts such as ringing or pre-echo are usually heard. A sample of applause compressed with a relatively low bit rate provides a good example of compression artifacts.

question: If the bit rate is too low, what might be audible in the reproduction?, context: With too low a bit rate, compression artifacts (i.e., sounds that were not present in the original recording) may be audible in the reproduction. Some audio is hard to compress because of its randomness and sharp attacks. When this type of audio is compressed, artifacts such as ringing or pre-echo are usually heard. A sample of applause compressed with a relatively low bit rate provides a good example of compression artifacts.


Question: Sounds that were not in the original recording are referred to as what?

Answer: compression artifacts

<hl> With too low a bit rate, compression artifacts (i.e., sounds that were not present in the original recording) may be audible in the reproduction. <hl> Some audio is hard to compress because of its randomness and sharp attacks. When this type of audio is compressed, artifacts such as ringing or pre-echo are usually heard. A sample of applause compressed with a relatively low bit rate provides a good example of compression artifacts.

With too low a bit rate, <hl> compression artifacts <hl> (i.e., sounds that were not present in the original recording) may be audible in the reproduction. Some audio is hard to compress because of its randomness and sharp attacks. When this type of audio is compressed, artifacts such as ringing or pre-echo are usually heard. A sample of applause compressed with a relatively low bit rate provides a good example of compression artifacts.

question: Sounds that were not in the original recording are referred to as what?, context: With too low a bit rate, compression artifacts (i.e., sounds that were not present in the original recording) may be audible in the reproduction. Some audio is hard to compress because of its randomness and sharp attacks. When this type of audio is compressed, artifacts such as ringing or pre-echo are usually heard. A sample of applause compressed with a relatively low bit rate provides a good example of compression artifacts.


Question: Randomness and sharp attacks are two reasons that may make it harder to to do what to an audio file?

Answer: compress

<hl> With too low a bit rate, compress ion artifacts (i.e., sounds that were not present in the original recording) may be audible in the reproduction. <hl> Some audio is hard to compress because of its randomness and sharp attacks. When this type of audio is compressed, artifacts such as ringing or pre-echo are usually heard. A sample of applause compressed with a relatively low bit rate provides a good example of compression artifacts.

With too low a bit rate, <hl> compress <hl>ion artifacts (i.e., sounds that were not present in the original recording) may be audible in the reproduction. Some audio is hard to compress because of its randomness and sharp attacks. When this type of audio is compressed, artifacts such as ringing or pre-echo are usually heard. A sample of applause compressed with a relatively low bit rate provides a good example of compression artifacts.

With too low a bit rate, <hl> compress <hl> ion artifacts (i.e., sounds that were not present in the original recording) may be audible in the reproduction.

question: Randomness and sharp attacks are two reasons that may make it harder to to do what to an audio file?, context: With too low a bit rate, compression artifacts (i.e., sounds that were not present in the original recording) may be audible in the reproduction. Some audio is hard to compress because of its randomness and sharp attacks. When this type of audio is compressed, artifacts such as ringing or pre-echo are usually heard. A sample of applause compressed with a relatively low bit rate provides a good example of compression artifacts.


Question: Other than pre - echo, what is another example of what can happen when audio is compressed?

Answer: ringing

With too low a bit rate, compression artifacts (i.e., sounds that were not present in the original recording) may be audible in the reproduction. Some audio is hard to compress because of its randomness and sharp attacks. <hl> When this type of audio is compressed, artifacts such as ringing or pre-echo are usually heard. <hl> A sample of applause compressed with a relatively low bit rate provides a good example of compression artifacts.

With too low a bit rate, compression artifacts (i.e., sounds that were not present in the original recording) may be audible in the reproduction. Some audio is hard to compress because of its randomness and sharp attacks. When this type of audio is compressed, artifacts such as <hl> ringing <hl> or pre-echo are usually heard. A sample of applause compressed with a relatively low bit rate provides a good example of compression artifacts.

question: Other than pre - echo, what is another example of what can happen when audio is compressed?, context: With too low a bit rate, compression artifacts (i.e., sounds that were not present in the original recording) may be audible in the reproduction. Some audio is hard to compress because of its randomness and sharp attacks. When this type of audio is compressed, artifacts such as ringing or pre-echo are usually heard. A sample of applause compressed with a relatively low bit rate provides a good example of compression artifacts.


Question: What kind of sample can display a good example of compression artifacts?

Answer: A sample of applause

With too low a bit rate, compression artifacts (i.e., sounds that were not present in the original recording) may be audible in the reproduction. Some audio is hard to compress because of its randomness and sharp attacks. When this type of audio is compressed, artifacts such as ringing or pre-echo are usually heard. <hl> A sample of applause compressed with a relatively low bit rate provides a good example of compression artifacts. <hl>

With too low a bit rate, compression artifacts (i.e., sounds that were not present in the original recording) may be audible in the reproduction. Some audio is hard to compress because of its randomness and sharp attacks. When this type of audio is compressed, artifacts such as ringing or pre-echo are usually heard. <hl> A sample of applause <hl> compressed with a relatively low bit rate provides a good example of compression artifacts.

question: What kind of sample can display a good example of compression artifacts?, context: With too low a bit rate, compression artifacts (i.e., sounds that were not present in the original recording) may be audible in the reproduction. Some audio is hard to compress because of its randomness and sharp attacks. When this type of audio is compressed, artifacts such as ringing or pre-echo are usually heard. A sample of applause compressed with a relatively low bit rate provides a good example of compression artifacts.


Question: Other than the bit rate and the difficulty of the signal, what can also affect the quality of an MP3 file?

Answer: quality of the encoder

<hl> Besides the bit rate of an encoded piece of audio, the quality of MP3 files also depends on the quality of the encoder itself, and the difficulty of the signal being encoded. <hl> As the MP3 standard allows quite a bit of freedom with encoding algorithms, different encoders may feature quite different quality, even with identical bit rates. As an example, in a public listening test featuring two different MP3 encoders at about 128 kbit/s, one scored 3.66 on a 1–5 scale, while the other scored only 2.22.

Besides the bit rate of an encoded piece of audio, the quality of MP3 files also depends on the <hl> quality of the encoder <hl> itself, and the difficulty of the signal being encoded. As the MP3 standard allows quite a bit of freedom with encoding algorithms, different encoders may feature quite different quality, even with identical bit rates. As an example, in a public listening test featuring two different MP3 encoders at about 128 kbit/s, one scored 3.66 on a 1–5 scale, while the other scored only 2.22.

question: Other than the bit rate and the difficulty of the signal, what can also affect the quality of an MP3 file?, context: Besides the bit rate of an encoded piece of audio, the quality of MP3 files also depends on the quality of the encoder itself, and the difficulty of the signal being encoded. As the MP3 standard allows quite a bit of freedom with encoding algorithms, different encoders may feature quite different quality, even with identical bit rates. As an example, in a public listening test featuring two different MP3 encoders at about 128 kbit/s, one scored 3.66 on a 1–5 scale, while the other scored only 2.22.


Question: The MP3 standard allows encoders to have a lot of freedom with which aspect of encoding?

Answer: encoding algorithms

Besides the bit rate of an encoded piece of audio, the quality of MP3 files also depends on the quality of the encoder itself, and the difficulty of the signal being encoded. <hl> As the MP3 standard allows quite a bit of freedom with encoding algorithms , different encoders may feature quite different quality, even with identical bit rates. <hl> As an example, in a public listening test featuring two different MP3 encoders at about 128 kbit/s, one scored 3.66 on a 1–5 scale, while the other scored only 2.22.

Besides the bit rate of an encoded piece of audio, the quality of MP3 files also depends on the quality of the encoder itself, and the difficulty of the signal being encoded. As the MP3 standard allows quite a bit of freedom with <hl> encoding algorithms <hl>, different encoders may feature quite different quality, even with identical bit rates. As an example, in a public listening test featuring two different MP3 encoders at about 128 kbit/s, one scored 3.66 on a 1–5 scale, while the other scored only 2.22.

As the MP3 standard allows quite a bit of freedom with <hl> encoding algorithms <hl> , different encoders may feature quite different quality, even with identical bit rates.

question: The MP3 standard allows encoders to have a lot of freedom with which aspect of encoding?, context: Besides the bit rate of an encoded piece of audio, the quality of MP3 files also depends on the quality of the encoder itself, and the difficulty of the signal being encoded. As the MP3 standard allows quite a bit of freedom with encoding algorithms, different encoders may feature quite different quality, even with identical bit rates. As an example, in a public listening test featuring two different MP3 encoders at about 128 kbit/s, one scored 3.66 on a 1–5 scale, while the other scored only 2.22.


Question: As a result of the freedom, different encoders can result in different quality even if which aspect of the file is the same?

Answer: bit rates

Besides the bit rate of an encoded piece of audio, the quality of MP3 files also depends on the quality of the encoder itself, and the difficulty of the signal being encoded. <hl> As the MP3 standard allows quite a bit of freedom with encoding algorithms, different encoders may feature quite different quality, even with identical bit rates . <hl> As an example, in a public listening test featuring two different MP3 encoders at about 128 kbit/s, one scored 3.66 on a 1–5 scale, while the other scored only 2.22.

Besides the bit rate of an encoded piece of audio, the quality of MP3 files also depends on the quality of the encoder itself, and the difficulty of the signal being encoded. As the MP3 standard allows quite a bit of freedom with encoding algorithms, different encoders may feature quite different quality, even with identical <hl> bit rates <hl>. As an example, in a public listening test featuring two different MP3 encoders at about 128 kbit/s, one scored 3.66 on a 1–5 scale, while the other scored only 2.22.

As the MP3 standard allows quite a bit of freedom with encoding algorithms, different encoders may feature quite different quality, even with identical <hl> bit rates <hl> .

question: As a result of the freedom, different encoders can result in different quality even if which aspect of the file is the same?, context: Besides the bit rate of an encoded piece of audio, the quality of MP3 files also depends on the quality of the encoder itself, and the difficulty of the signal being encoded. As the MP3 standard allows quite a bit of freedom with encoding algorithms, different encoders may feature quite different quality, even with identical bit rates. As an example, in a public listening test featuring two different MP3 encoders at about 128 kbit/s, one scored 3.66 on a 1–5 scale, while the other scored only 2.22.


Question: An example shown has a low range quality score of what value?

Answer: 2.22

Besides the bit rate of an encoded piece of audio, the quality of MP3 files also depends on the quality of the encoder itself, and the difficulty of the signal being encoded. As the MP3 standard allows quite a bit of freedom with encoding algorithms, different encoders may feature quite different quality, even with identical bit rates. <hl> As an example, in a public listening test featuring two different MP3 encoders at about 128 kbit/s, one scored 3.66 on a 1–5 scale, while the other scored only 2.22 . <hl>

Besides the bit rate of an encoded piece of audio, the quality of MP3 files also depends on the quality of the encoder itself, and the difficulty of the signal being encoded. As the MP3 standard allows quite a bit of freedom with encoding algorithms, different encoders may feature quite different quality, even with identical bit rates. As an example, in a public listening test featuring two different MP3 encoders at about 128 kbit/s, one scored 3.66 on a 1–5 scale, while the other scored only <hl> 2.22 <hl>.

As an example, in a public listening test featuring two different MP3 encoders at about 128 kbit/s, one scored 3.66 on a 1–5 scale, while the other scored only <hl> 2.22 <hl> .

question: An example shown has a low range quality score of what value?, context: Besides the bit rate of an encoded piece of audio, the quality of MP3 files also depends on the quality of the encoder itself, and the difficulty of the signal being encoded. As the MP3 standard allows quite a bit of freedom with encoding algorithms, different encoders may feature quite different quality, even with identical bit rates. As an example, in a public listening test featuring two different MP3 encoders at about 128 kbit/s, one scored 3.66 on a 1–5 scale, while the other scored only 2.22.


Question: To compare qualities, sound files are evaluated on a scale that ranges from 1 to what?

Answer: 5

Besides the bit rate of an encoded piece of audio, the quality of MP3 files also depends on the quality of the encoder itself, and the difficulty of the signal being encoded. As the MP3 standard allows quite a bit of freedom with encoding algorithms, different encoders may feature quite different quality, even with identical bit rates. <hl> As an example, in a public listening test featuring two different MP3 encoders at about 128 kbit/s, one scored 3.66 on a 1– 5 scale, while the other scored only 2.22. <hl>

Besides the bit rate of an encoded piece of audio, the quality of MP3 files also depends on the quality of the encoder itself, and the difficulty of the signal being encoded. As the MP3 standard allows quite a bit of freedom with encoding algorithms, different encoders may feature quite different quality, even with identical bit rates. As an example, in a public listening test featuring two different MP3 encoders at about 128 kbit/s, one scored 3.66 on a 1–<hl> 5 <hl> scale, while the other scored only 2.22.

As an example, in a public listening test featuring two different MP3 encoders at about 128 kbit/s, one scored 3.66 on a 1– <hl> 5 <hl> scale, while the other scored only 2.22.

question: To compare qualities, sound files are evaluated on a scale that ranges from 1 to what?, context: Besides the bit rate of an encoded piece of audio, the quality of MP3 files also depends on the quality of the encoder itself, and the difficulty of the signal being encoded. As the MP3 standard allows quite a bit of freedom with encoding algorithms, different encoders may feature quite different quality, even with identical bit rates. As an example, in a public listening test featuring two different MP3 encoders at about 128 kbit/s, one scored 3.66 on a 1–5 scale, while the other scored only 2.22.


Question: How many bit rates does the simplest type of MP3 file use?

Answer: one

<hl> The simplest type of MP3 file uses one bit rate for the entire file: this is known as Constant Bit Rate (CBR) encoding. <hl> Using a constant bit rate makes encoding simpler and faster. However, it is also possible to create files where the bit rate changes throughout the file. These are known as Variable Bit Rate (VBR) files. The idea behind this is that, in any piece of audio, some parts will be much easier to compress, such as silence or music containing only a few instruments, while others will be more difficult to compress. So, the overall quality of the file may be increased by using a lower bit rate for the less complex passages and a higher one for the more complex parts. With some encoders, it is possible to specify a given quality, and the encoder will vary the bit rate accordingly. Users who know a particular "quality setting" that is transparent to their ears can use this value when encoding all of their music, and generally speaking not need to worry about performing personal listening tests on each piece of music to determine the correct bit rate.

The simplest type of MP3 file uses <hl> one <hl> bit rate for the entire file: this is known as Constant Bit Rate (CBR) encoding. Using a constant bit rate makes encoding simpler and faster. However, it is also possible to create files where the bit rate changes throughout the file. These are known as Variable Bit Rate (VBR) files. The idea behind this is that, in any piece of audio, some parts will be much easier to compress, such as silence or music containing only a few instruments, while others will be more difficult to compress. So, the overall quality of the file may be increased by using a lower bit rate for the less complex passages and a higher one for the more complex parts. With some encoders, it is possible to specify a given quality, and the encoder will vary the bit rate accordingly. Users who know a particular "quality setting" that is transparent to their ears can use this value when encoding all of their music, and generally speaking not need to worry about performing personal listening tests on each piece of music to determine the correct bit rate.

question: How many bit rates does the simplest type of MP3 file use?, context: The simplest type of MP3 file uses one bit rate for the entire file: this is known as Constant Bit Rate (CBR) encoding. Using a constant bit rate makes encoding simpler and faster. However, it is also possible to create files where the bit rate changes throughout the file. These are known as Variable Bit Rate (VBR) files. The idea behind this is that, in any piece of audio, some parts will be much easier to compress, such as silence or music containing only a few instruments, while others will be more difficult to compress. So, the overall quality of the file may be increased by using a lower bit rate for the less complex passages and a higher one for the more complex parts. With some encoders, it is possible to specify a given quality, and the encoder will vary the bit rate accordingly. Users who know a particular "quality setting" that is transparent to their ears can use this value when encoding all of their music, and generally speaking not need to worry about performing personal listening tests on each piece of music to determine the correct bit rate.


Question: What does CBR stand for?

Answer: Constant Bit Rate

<hl> The simplest type of MP3 file uses one bit rate for the entire file: this is known as Constant Bit Rate (CBR) encoding. <hl> Using a constant bit rate makes encoding simpler and faster. However, it is also possible to create files where the bit rate changes throughout the file. These are known as Variable Bit Rate (VBR) files. The idea behind this is that, in any piece of audio, some parts will be much easier to compress, such as silence or music containing only a few instruments, while others will be more difficult to compress. So, the overall quality of the file may be increased by using a lower bit rate for the less complex passages and a higher one for the more complex parts. With some encoders, it is possible to specify a given quality, and the encoder will vary the bit rate accordingly. Users who know a particular "quality setting" that is transparent to their ears can use this value when encoding all of their music, and generally speaking not need to worry about performing personal listening tests on each piece of music to determine the correct bit rate.

The simplest type of MP3 file uses one bit rate for the entire file: this is known as <hl> Constant Bit Rate <hl> (CBR) encoding. Using a constant bit rate makes encoding simpler and faster. However, it is also possible to create files where the bit rate changes throughout the file. These are known as Variable Bit Rate (VBR) files. The idea behind this is that, in any piece of audio, some parts will be much easier to compress, such as silence or music containing only a few instruments, while others will be more difficult to compress. So, the overall quality of the file may be increased by using a lower bit rate for the less complex passages and a higher one for the more complex parts. With some encoders, it is possible to specify a given quality, and the encoder will vary the bit rate accordingly. Users who know a particular "quality setting" that is transparent to their ears can use this value when encoding all of their music, and generally speaking not need to worry about performing personal listening tests on each piece of music to determine the correct bit rate.

question: What does CBR stand for?, context: The simplest type of MP3 file uses one bit rate for the entire file: this is known as Constant Bit Rate (CBR) encoding. Using a constant bit rate makes encoding simpler and faster. However, it is also possible to create files where the bit rate changes throughout the file. These are known as Variable Bit Rate (VBR) files. The idea behind this is that, in any piece of audio, some parts will be much easier to compress, such as silence or music containing only a few instruments, while others will be more difficult to compress. So, the overall quality of the file may be increased by using a lower bit rate for the less complex passages and a higher one for the more complex parts. With some encoders, it is possible to specify a given quality, and the encoder will vary the bit rate accordingly. Users who know a particular "quality setting" that is transparent to their ears can use this value when encoding all of their music, and generally speaking not need to worry about performing personal listening tests on each piece of music to determine the correct bit rate.


Question: What does VBR stand for?

Answer: Variable Bit Rate

The simplest type of MP3 file uses one bit rate for the entire file: this is known as Constant Bit Rate (CBR) encoding. Using a constant bit rate makes encoding simpler and faster. However, it is also possible to create files where the bit rate changes throughout the file. <hl> These are known as Variable Bit Rate (VBR) files. <hl> The idea behind this is that, in any piece of audio, some parts will be much easier to compress, such as silence or music containing only a few instruments, while others will be more difficult to compress. So, the overall quality of the file may be increased by using a lower bit rate for the less complex passages and a higher one for the more complex parts. With some encoders, it is possible to specify a given quality, and the encoder will vary the bit rate accordingly. Users who know a particular "quality setting" that is transparent to their ears can use this value when encoding all of their music, and generally speaking not need to worry about performing personal listening tests on each piece of music to determine the correct bit rate.

The simplest type of MP3 file uses one bit rate for the entire file: this is known as Constant Bit Rate (CBR) encoding. Using a constant bit rate makes encoding simpler and faster. However, it is also possible to create files where the bit rate changes throughout the file. These are known as <hl> Variable Bit Rate <hl> (VBR) files. The idea behind this is that, in any piece of audio, some parts will be much easier to compress, such as silence or music containing only a few instruments, while others will be more difficult to compress. So, the overall quality of the file may be increased by using a lower bit rate for the less complex passages and a higher one for the more complex parts. With some encoders, it is possible to specify a given quality, and the encoder will vary the bit rate accordingly. Users who know a particular "quality setting" that is transparent to their ears can use this value when encoding all of their music, and generally speaking not need to worry about performing personal listening tests on each piece of music to determine the correct bit rate.

question: What does VBR stand for?, context: The simplest type of MP3 file uses one bit rate for the entire file: this is known as Constant Bit Rate (CBR) encoding. Using a constant bit rate makes encoding simpler and faster. However, it is also possible to create files where the bit rate changes throughout the file. These are known as Variable Bit Rate (VBR) files. The idea behind this is that, in any piece of audio, some parts will be much easier to compress, such as silence or music containing only a few instruments, while others will be more difficult to compress. So, the overall quality of the file may be increased by using a lower bit rate for the less complex passages and a higher one for the more complex parts. With some encoders, it is possible to specify a given quality, and the encoder will vary the bit rate accordingly. Users who know a particular "quality setting" that is transparent to their ears can use this value when encoding all of their music, and generally speaking not need to worry about performing personal listening tests on each piece of music to determine the correct bit rate.


Question: Aside from silence, which sections of music highlight parts that are easier to compress?

Answer: music containing only a few instruments

The simplest type of MP3 file uses one bit rate for the entire file: this is known as Constant Bit Rate (CBR) encoding. Using a constant bit rate makes encoding simpler and faster. However, it is also possible to create files where the bit rate changes throughout the file. These are known as Variable Bit Rate (VBR) files. <hl> The idea behind this is that, in any piece of audio, some parts will be much easier to compress, such as silence or music containing only a few instruments , while others will be more difficult to compress. <hl> So, the overall quality of the file may be increased by using a lower bit rate for the less complex passages and a higher one for the more complex parts. With some encoders, it is possible to specify a given quality, and the encoder will vary the bit rate accordingly. Users who know a particular "quality setting" that is transparent to their ears can use this value when encoding all of their music, and generally speaking not need to worry about performing personal listening tests on each piece of music to determine the correct bit rate.

The simplest type of MP3 file uses one bit rate for the entire file: this is known as Constant Bit Rate (CBR) encoding. Using a constant bit rate makes encoding simpler and faster. However, it is also possible to create files where the bit rate changes throughout the file. These are known as Variable Bit Rate (VBR) files. The idea behind this is that, in any piece of audio, some parts will be much easier to compress, such as silence or <hl> music containing only a few instruments <hl>, while others will be more difficult to compress. So, the overall quality of the file may be increased by using a lower bit rate for the less complex passages and a higher one for the more complex parts. With some encoders, it is possible to specify a given quality, and the encoder will vary the bit rate accordingly. Users who know a particular "quality setting" that is transparent to their ears can use this value when encoding all of their music, and generally speaking not need to worry about performing personal listening tests on each piece of music to determine the correct bit rate.

The idea behind this is that, in any piece of audio, some parts will be much easier to compress, such as silence or <hl> music containing only a few instruments <hl> , while others will be more difficult to compress.

question: Aside from silence, which sections of music highlight parts that are easier to compress?, context: The simplest type of MP3 file uses one bit rate for the entire file: this is known as Constant Bit Rate (CBR) encoding. Using a constant bit rate makes encoding simpler and faster. However, it is also possible to create files where the bit rate changes throughout the file. These are known as Variable Bit Rate (VBR) files. The idea behind this is that, in any piece of audio, some parts will be much easier to compress, such as silence or music containing only a few instruments, while others will be more difficult to compress. So, the overall quality of the file may be increased by using a lower bit rate for the less complex passages and a higher one for the more complex parts. With some encoders, it is possible to specify a given quality, and the encoder will vary the bit rate accordingly. Users who know a particular "quality setting" that is transparent to their ears can use this value when encoding all of their music, and generally speaking not need to worry about performing personal listening tests on each piece of music to determine the correct bit rate.


Question: What value do users need to know when encoding their music to help avoid them having to do tests on each piece of music?

Answer: quality setting

The simplest type of MP3 file uses one bit rate for the entire file: this is known as Constant Bit Rate (CBR) encoding. Using a constant bit rate makes encoding simpler and faster. However, it is also possible to create files where the bit rate changes throughout the file. These are known as Variable Bit Rate (VBR) files. The idea behind this is that, in any piece of audio, some parts will be much easier to compress, such as silence or music containing only a few instruments, while others will be more difficult to compress. So, the overall quality of the file may be increased by using a lower bit rate for the less complex passages and a higher one for the more complex parts. With some encoders, it is possible to specify a given quality, and the encoder will vary the bit rate accordingly. <hl> Users who know a particular " quality setting " that is transparent to their ears can use this value when encoding all of their music, and generally speaking not need to worry about performing personal listening tests on each piece of music to determine the correct bit rate. <hl>

The simplest type of MP3 file uses one bit rate for the entire file: this is known as Constant Bit Rate (CBR) encoding. Using a constant bit rate makes encoding simpler and faster. However, it is also possible to create files where the bit rate changes throughout the file. These are known as Variable Bit Rate (VBR) files. The idea behind this is that, in any piece of audio, some parts will be much easier to compress, such as silence or music containing only a few instruments, while others will be more difficult to compress. So, the overall quality of the file may be increased by using a lower bit rate for the less complex passages and a higher one for the more complex parts. With some encoders, it is possible to specify a given quality, and the encoder will vary the bit rate accordingly. Users who know a particular "<hl> quality setting <hl>" that is transparent to their ears can use this value when encoding all of their music, and generally speaking not need to worry about performing personal listening tests on each piece of music to determine the correct bit rate.

Users who know a particular " <hl> quality setting <hl> " that is transparent to their ears can use this value when encoding all of their music, and generally speaking not need to worry about performing personal listening tests on each piece of music to determine the correct bit rate.

question: What value do users need to know when encoding their music to help avoid them having to do tests on each piece of music?, context: The simplest type of MP3 file uses one bit rate for the entire file: this is known as Constant Bit Rate (CBR) encoding. Using a constant bit rate makes encoding simpler and faster. However, it is also possible to create files where the bit rate changes throughout the file. These are known as Variable Bit Rate (VBR) files. The idea behind this is that, in any piece of audio, some parts will be much easier to compress, such as silence or music containing only a few instruments, while others will be more difficult to compress. So, the overall quality of the file may be increased by using a lower bit rate for the less complex passages and a higher one for the more complex parts. With some encoders, it is possible to specify a given quality, and the encoder will vary the bit rate accordingly. Users who know a particular "quality setting" that is transparent to their ears can use this value when encoding all of their music, and generally speaking not need to worry about performing personal listening tests on each piece of music to determine the correct bit rate.


Question: A listening environment is also know by which term?

Answer: ambient noise

<hl> Perceived quality can be influenced by listening environment ( ambient noise ), listener attention, and listener training and in most cases by listener audio equipment (such as sound cards, speakers and headphones). <hl>

Perceived quality can be influenced by listening environment (<hl> ambient noise <hl>), listener attention, and listener training and in most cases by listener audio equipment (such as sound cards, speakers and headphones).

Perceived quality can be influenced by listening environment ( <hl> ambient noise <hl> ), listener attention, and listener training and in most cases by listener audio equipment (such as sound cards, speakers and headphones).

question: A listening environment is also know by which term?, context: Perceived quality can be influenced by listening environment (ambient noise), listener attention, and listener training and in most cases by listener audio equipment (such as sound cards, speakers and headphones).


Question: Other than speakers and headphones, what other piece of equipment affects the listener's perceived quality?

Answer: sound cards

<hl> Perceived quality can be influenced by listening environment (ambient noise), listener attention, and listener training and in most cases by listener audio equipment (such as sound cards , speakers and headphones). <hl>

Perceived quality can be influenced by listening environment (ambient noise), listener attention, and listener training and in most cases by listener audio equipment (such as <hl> sound cards <hl>, speakers and headphones).

Perceived quality can be influenced by listening environment (ambient noise), listener attention, and listener training and in most cases by listener audio equipment (such as <hl> sound cards <hl> , speakers and headphones).

question: Other than speakers and headphones, what other piece of equipment affects the listener's perceived quality?, context: Perceived quality can be influenced by listening environment (ambient noise), listener attention, and listener training and in most cases by listener audio equipment (such as sound cards, speakers and headphones).


Question: Listening environment, listener attention, listener training and listener audio equipment can all affect what kind of quality?

Answer: Perceived quality

<hl> Perceived quality can be influenced by listening environment (ambient noise), listener attention, and listener training and in most cases by listener audio equipment (such as sound cards, speakers and headphones). <hl>

<hl> Perceived quality <hl> can be influenced by listening environment (ambient noise), listener attention, and listener training and in most cases by listener audio equipment (such as sound cards, speakers and headphones).

question: Listening environment, listener attention, listener training and listener audio equipment can all affect what kind of quality?, context: Perceived quality can be influenced by listening environment (ambient noise), listener attention, and listener training and in most cases by listener audio equipment (such as sound cards, speakers and headphones).


Question: Who gave students a test to determine their preferences?

Answer: Music Professor Jonathan Berger

<hl> A test given to new students by Stanford University Music Professor Jonathan Berger showed that student preference for MP3-quality music has risen each year. <hl> Berger said the students seem to prefer the 'sizzle' sounds that MP3s bring to music.

A test given to new students by Stanford University <hl> Music Professor Jonathan Berger <hl> showed that student preference for MP3-quality music has risen each year. Berger said the students seem to prefer the 'sizzle' sounds that MP3s bring to music.

question: Who gave students a test to determine their preferences?, context: A test given to new students by Stanford University Music Professor Jonathan Berger showed that student preference for MP3-quality music has risen each year. Berger said the students seem to prefer the 'sizzle' sounds that MP3s bring to music.


Question: Where was a test performed to collect data on student preference for MP3 quality?

Answer: Stanford University

<hl> A test given to new students by Stanford University Music Professor Jonathan Berger showed that student preference for MP3-quality music has risen each year. <hl> Berger said the students seem to prefer the 'sizzle' sounds that MP3s bring to music.

A test given to new students by <hl> Stanford University <hl> Music Professor Jonathan Berger showed that student preference for MP3-quality music has risen each year. Berger said the students seem to prefer the 'sizzle' sounds that MP3s bring to music.

question: Where was a test performed to collect data on student preference for MP3 quality?, context: A test given to new students by Stanford University Music Professor Jonathan Berger showed that student preference for MP3-quality music has risen each year. Berger said the students seem to prefer the 'sizzle' sounds that MP3s bring to music.


Question: Data showed that students' preference for MP3 quality music followed which trend?

Answer: risen each year

<hl> A test given to new students by Stanford University Music Professor Jonathan Berger showed that student preference for MP3-quality music has risen each year . <hl> Berger said the students seem to prefer the 'sizzle' sounds that MP3s bring to music.

A test given to new students by Stanford University Music Professor Jonathan Berger showed that student preference for MP3-quality music has <hl> risen each year <hl>. Berger said the students seem to prefer the 'sizzle' sounds that MP3s bring to music.

A test given to new students by Stanford University Music Professor Jonathan Berger showed that student preference for MP3-quality music has <hl> risen each year <hl> .

question: Data showed that students' preference for MP3 quality music followed which trend?, context: A test given to new students by Stanford University Music Professor Jonathan Berger showed that student preference for MP3-quality music has risen each year. Berger said the students seem to prefer the 'sizzle' sounds that MP3s bring to music.


Question: What kind of sound did students seem to prefer?

Answer: sizzle

A test given to new students by Stanford University Music Professor Jonathan Berger showed that student preference for MP3-quality music has risen each year. <hl> Berger said the students seem to prefer the ' sizzle ' sounds that MP3s bring to music. <hl>

A test given to new students by Stanford University Music Professor Jonathan Berger showed that student preference for MP3-quality music has risen each year. Berger said the students seem to prefer the '<hl> sizzle <hl>' sounds that MP3s bring to music.

Berger said the students seem to prefer the ' <hl> sizzle <hl> ' sounds that MP3s bring to music.

question: What kind of sound did students seem to prefer?, context: A test given to new students by Stanford University Music Professor Jonathan Berger showed that student preference for MP3-quality music has risen each year. Berger said the students seem to prefer the 'sizzle' sounds that MP3s bring to music.


Question: What is the name of the study done by composer Ryan Maguire?

Answer: The Ghost in the MP3

<hl> An in-depth study of MP3 audio quality, sound artist and composer Ryan Maguire's project " The Ghost in the MP3 " isolates the sounds lost during MP3 compression. <hl> In 2015, he released the track "moDernisT" (an anagram of "Tom's Diner"), composed exclusively from the sounds deleted during MP3 compression of the song "Tom's Diner", the track originally used in the formulation of the MP3 standard. A detailed account of the techniques used to isolate the sounds deleted during MP3 compression, along with the conceptual motivation for the project, was published in the 2014 Proceedings of the International Computer Music Conference.

An in-depth study of MP3 audio quality, sound artist and composer Ryan Maguire's project "<hl> The Ghost in the MP3 <hl>" isolates the sounds lost during MP3 compression. In 2015, he released the track "moDernisT" (an anagram of "Tom's Diner"), composed exclusively from the sounds deleted during MP3 compression of the song "Tom's Diner", the track originally used in the formulation of the MP3 standard. A detailed account of the techniques used to isolate the sounds deleted during MP3 compression, along with the conceptual motivation for the project, was published in the 2014 Proceedings of the International Computer Music Conference.

An in-depth study of MP3 audio quality, sound artist and composer Ryan Maguire's project " <hl> The Ghost in the MP3 <hl> " isolates the sounds lost during MP3 compression.

question: What is the name of the study done by composer Ryan Maguire?, context: An in-depth study of MP3 audio quality, sound artist and composer Ryan Maguire's project "The Ghost in the MP3" isolates the sounds lost during MP3 compression. In 2015, he released the track "moDernisT" (an anagram of "Tom's Diner"), composed exclusively from the sounds deleted during MP3 compression of the song "Tom's Diner", the track originally used in the formulation of the MP3 standard. A detailed account of the techniques used to isolate the sounds deleted during MP3 compression, along with the conceptual motivation for the project, was published in the 2014 Proceedings of the International Computer Music Conference.


Question: What did the study aim to isolate?

Answer: sounds lost during MP3 compression

<hl> An in-depth study of MP3 audio quality, sound artist and composer Ryan Maguire's project "The Ghost in the MP3" isolates the sounds lost during MP3 compression . <hl> In 2015, he released the track "moDernisT" (an anagram of "Tom's Diner"), composed exclusively from the sounds deleted during MP3 compression of the song "Tom's Diner", the track originally used in the formulation of the MP3 standard. A detailed account of the techniques used to isolate the sounds deleted during MP3 compression, along with the conceptual motivation for the project, was published in the 2014 Proceedings of the International Computer Music Conference.

An in-depth study of MP3 audio quality, sound artist and composer Ryan Maguire's project "The Ghost in the MP3" isolates the <hl> sounds lost during MP3 compression <hl>. In 2015, he released the track "moDernisT" (an anagram of "Tom's Diner"), composed exclusively from the sounds deleted during MP3 compression of the song "Tom's Diner", the track originally used in the formulation of the MP3 standard. A detailed account of the techniques used to isolate the sounds deleted during MP3 compression, along with the conceptual motivation for the project, was published in the 2014 Proceedings of the International Computer Music Conference.

An in-depth study of MP3 audio quality, sound artist and composer Ryan Maguire's project "The Ghost in the MP3" isolates the <hl> sounds lost during MP3 compression <hl> .

question: What did the study aim to isolate?, context: An in-depth study of MP3 audio quality, sound artist and composer Ryan Maguire's project "The Ghost in the MP3" isolates the sounds lost during MP3 compression. In 2015, he released the track "moDernisT" (an anagram of "Tom's Diner"), composed exclusively from the sounds deleted during MP3 compression of the song "Tom's Diner", the track originally used in the formulation of the MP3 standard. A detailed account of the techniques used to isolate the sounds deleted during MP3 compression, along with the conceptual motivation for the project, was published in the 2014 Proceedings of the International Computer Music Conference.


Question: What is the track "moDernisT" an anagram of?

Answer: Tom's Diner

An in-depth study of MP3 audio quality, sound artist and composer Ryan Maguire's project "The Ghost in the MP3" isolates the sounds lost during MP3 compression. <hl> In 2015, he released the track "moDernisT" (an anagram of " Tom's Diner "), composed exclusively from the sounds deleted during MP3 compression of the song "Tom's Diner", the track originally used in the formulation of the MP3 standard. <hl> A detailed account of the techniques used to isolate the sounds deleted during MP3 compression, along with the conceptual motivation for the project, was published in the 2014 Proceedings of the International Computer Music Conference.

An in-depth study of MP3 audio quality, sound artist and composer Ryan Maguire's project "The Ghost in the MP3" isolates the sounds lost during MP3 compression. In 2015, he released the track "moDernisT" (an anagram of "<hl> Tom's Diner <hl>"), composed exclusively from the sounds deleted during MP3 compression of the song "Tom's Diner", the track originally used in the formulation of the MP3 standard. A detailed account of the techniques used to isolate the sounds deleted during MP3 compression, along with the conceptual motivation for the project, was published in the 2014 Proceedings of the International Computer Music Conference.

In 2015, he released the track "moDernisT" (an anagram of " <hl> Tom's Diner <hl> "), composed exclusively from the sounds deleted during MP3 compression of the song "Tom's Diner", the track originally used in the formulation of the MP3 standard.

question: What is the track "moDernisT" an anagram of?, context: An in-depth study of MP3 audio quality, sound artist and composer Ryan Maguire's project "The Ghost in the MP3" isolates the sounds lost during MP3 compression. In 2015, he released the track "moDernisT" (an anagram of "Tom's Diner"), composed exclusively from the sounds deleted during MP3 compression of the song "Tom's Diner", the track originally used in the formulation of the MP3 standard. A detailed account of the techniques used to isolate the sounds deleted during MP3 compression, along with the conceptual motivation for the project, was published in the 2014 Proceedings of the International Computer Music Conference.


Question: Where was an account of the study published?

Answer: International Computer Music Conference

An in-depth study of MP3 audio quality, sound artist and composer Ryan Maguire's project "The Ghost in the MP3" isolates the sounds lost during MP3 compression. In 2015, he released the track "moDernisT" (an anagram of "Tom's Diner"), composed exclusively from the sounds deleted during MP3 compression of the song "Tom's Diner", the track originally used in the formulation of the MP3 standard. <hl> A detailed account of the techniques used to isolate the sounds deleted during MP3 compression, along with the conceptual motivation for the project, was published in the 2014 Proceedings of the International Computer Music Conference . <hl>

An in-depth study of MP3 audio quality, sound artist and composer Ryan Maguire's project "The Ghost in the MP3" isolates the sounds lost during MP3 compression. In 2015, he released the track "moDernisT" (an anagram of "Tom's Diner"), composed exclusively from the sounds deleted during MP3 compression of the song "Tom's Diner", the track originally used in the formulation of the MP3 standard. A detailed account of the techniques used to isolate the sounds deleted during MP3 compression, along with the conceptual motivation for the project, was published in the 2014 Proceedings of the <hl> International Computer Music Conference <hl>.

A detailed account of the techniques used to isolate the sounds deleted during MP3 compression, along with the conceptual motivation for the project, was published in the 2014 Proceedings of the <hl> International Computer Music Conference <hl> .

question: Where was an account of the study published?, context: An in-depth study of MP3 audio quality, sound artist and composer Ryan Maguire's project "The Ghost in the MP3" isolates the sounds lost during MP3 compression. In 2015, he released the track "moDernisT" (an anagram of "Tom's Diner"), composed exclusively from the sounds deleted during MP3 compression of the song "Tom's Diner", the track originally used in the formulation of the MP3 standard. A detailed account of the techniques used to isolate the sounds deleted during MP3 compression, along with the conceptual motivation for the project, was published in the 2014 Proceedings of the International Computer Music Conference.


Question: Which year was the study published?

Answer: 2014

An in-depth study of MP3 audio quality, sound artist and composer Ryan Maguire's project "The Ghost in the MP3" isolates the sounds lost during MP3 compression. In 2015, he released the track "moDernisT" (an anagram of "Tom's Diner"), composed exclusively from the sounds deleted during MP3 compression of the song "Tom's Diner", the track originally used in the formulation of the MP3 standard. <hl> A detailed account of the techniques used to isolate the sounds deleted during MP3 compression, along with the conceptual motivation for the project, was published in the 2014 Proceedings of the International Computer Music Conference. <hl>

An in-depth study of MP3 audio quality, sound artist and composer Ryan Maguire's project "The Ghost in the MP3" isolates the sounds lost during MP3 compression. In 2015, he released the track "moDernisT" (an anagram of "Tom's Diner"), composed exclusively from the sounds deleted during MP3 compression of the song "Tom's Diner", the track originally used in the formulation of the MP3 standard. A detailed account of the techniques used to isolate the sounds deleted during MP3 compression, along with the conceptual motivation for the project, was published in the <hl> 2014 <hl> Proceedings of the International Computer Music Conference.

question: Which year was the study published?, context: An in-depth study of MP3 audio quality, sound artist and composer Ryan Maguire's project "The Ghost in the MP3" isolates the sounds lost during MP3 compression. In 2015, he released the track "moDernisT" (an anagram of "Tom's Diner"), composed exclusively from the sounds deleted during MP3 compression of the song "Tom's Diner", the track originally used in the formulation of the MP3 standard. A detailed account of the techniques used to isolate the sounds deleted during MP3 compression, along with the conceptual motivation for the project, was published in the 2014 Proceedings of the International Computer Music Conference.


Question: What is the name of the sampling theorem?

Answer: Nyquist–Shannon

Several bit rates are specified in the MPEG-1 Audio Layer III standard: 32, 40, 48, 56, 64, 80, 96, 112, 128, 160, 192, 224, 256 and 320 kbit/s, with available sampling frequencies of 32, 44.1 and 48 kHz. MPEG-2 Audio Layer III allows bit rates of 8, 16, 24, 32, 40, 48, 56, 64, 80, 96, 112, 128, 144, 160 kbit/s with sampling frequencies of 16, 22.05 and 24 kHz. <hl> MPEG-2.5 Audio Layer III is restricted to bit rates of 8, 16, 24, 32, 40, 48, 56 and 64 kbit/s with sampling frequencies of 8, 11.025, and 12 kHz.[citation needed] Because of the Nyquist–Shannon sampling theorem, frequency reproduction is always strictly less than half of the sampling frequency, and imperfect filters requires a larger margin for error (noise level versus sharpness of filter), so 8 kHz sampling rate limits the maximum frequency to 4 kHz, while 48 kHz maximum sampling rate limits an MP3 to 24 kHz sound reproduction. <hl>

Several bit rates are specified in the MPEG-1 Audio Layer III standard: 32, 40, 48, 56, 64, 80, 96, 112, 128, 160, 192, 224, 256 and 320 kbit/s, with available sampling frequencies of 32, 44.1 and 48 kHz. MPEG-2 Audio Layer III allows bit rates of 8, 16, 24, 32, 40, 48, 56, 64, 80, 96, 112, 128, 144, 160 kbit/s with sampling frequencies of 16, 22.05 and 24 kHz. MPEG-2.5 Audio Layer III is restricted to bit rates of 8, 16, 24, 32, 40, 48, 56 and 64 kbit/s with sampling frequencies of 8, 11.025, and 12 kHz.[citation needed] Because of the <hl> Nyquist–Shannon <hl> sampling theorem, frequency reproduction is always strictly less than half of the sampling frequency, and imperfect filters requires a larger margin for error (noise level versus sharpness of filter), so 8 kHz sampling rate limits the maximum frequency to 4 kHz, while 48 kHz maximum sampling rate limits an MP3 to 24 kHz sound reproduction.

question: What is the name of the sampling theorem?, context: Several bit rates are specified in the MPEG-1 Audio Layer III standard: 32, 40, 48, 56, 64, 80, 96, 112, 128, 160, 192, 224, 256 and 320 kbit/s, with available sampling frequencies of 32, 44.1 and 48 kHz. MPEG-2 Audio Layer III allows bit rates of 8, 16, 24, 32, 40, 48, 56, 64, 80, 96, 112, 128, 144, 160 kbit/s with sampling frequencies of 16, 22.05 and 24 kHz. MPEG-2.5 Audio Layer III is restricted to bit rates of 8, 16, 24, 32, 40, 48, 56 and 64 kbit/s with sampling frequencies of 8, 11.025, and 12 kHz.[citation needed] Because of the Nyquist–Shannon sampling theorem, frequency reproduction is always strictly less than half of the sampling frequency, and imperfect filters requires a larger margin for error (noise level versus sharpness of filter), so 8 kHz sampling rate limits the maximum frequency to 4 kHz, while 48 kHz maximum sampling rate limits an MP3 to 24 kHz sound reproduction.


Question: In relation to the sampling frequency, the frequency reproduction is strictly how much less?

Answer: less than half

Several bit rates are specified in the MPEG-1 Audio Layer III standard: 32, 40, 48, 56, 64, 80, 96, 112, 128, 160, 192, 224, 256 and 320 kbit/s, with available sampling frequencies of 32, 44.1 and 48 kHz. MPEG-2 Audio Layer III allows bit rates of 8, 16, 24, 32, 40, 48, 56, 64, 80, 96, 112, 128, 144, 160 kbit/s with sampling frequencies of 16, 22.05 and 24 kHz. <hl> MPEG-2.5 Audio Layer III is restricted to bit rates of 8, 16, 24, 32, 40, 48, 56 and 64 kbit/s with sampling frequencies of 8, 11.025, and 12 kHz.[citation needed] Because of the Nyquist–Shannon sampling theorem, frequency reproduction is always strictly less than half of the sampling frequency, and imperfect filters requires a larger margin for error (noise level versus sharpness of filter), so 8 kHz sampling rate limits the maximum frequency to 4 kHz, while 48 kHz maximum sampling rate limits an MP3 to 24 kHz sound reproduction. <hl>

Several bit rates are specified in the MPEG-1 Audio Layer III standard: 32, 40, 48, 56, 64, 80, 96, 112, 128, 160, 192, 224, 256 and 320 kbit/s, with available sampling frequencies of 32, 44.1 and 48 kHz. MPEG-2 Audio Layer III allows bit rates of 8, 16, 24, 32, 40, 48, 56, 64, 80, 96, 112, 128, 144, 160 kbit/s with sampling frequencies of 16, 22.05 and 24 kHz. MPEG-2.5 Audio Layer III is restricted to bit rates of 8, 16, 24, 32, 40, 48, 56 and 64 kbit/s with sampling frequencies of 8, 11.025, and 12 kHz.[citation needed] Because of the Nyquist–Shannon sampling theorem, frequency reproduction is always strictly <hl> less than half <hl> of the sampling frequency, and imperfect filters requires a larger margin for error (noise level versus sharpness of filter), so 8 kHz sampling rate limits the maximum frequency to 4 kHz, while 48 kHz maximum sampling rate limits an MP3 to 24 kHz sound reproduction.

question: In relation to the sampling frequency, the frequency reproduction is strictly how much less?, context: Several bit rates are specified in the MPEG-1 Audio Layer III standard: 32, 40, 48, 56, 64, 80, 96, 112, 128, 160, 192, 224, 256 and 320 kbit/s, with available sampling frequencies of 32, 44.1 and 48 kHz. MPEG-2 Audio Layer III allows bit rates of 8, 16, 24, 32, 40, 48, 56, 64, 80, 96, 112, 128, 144, 160 kbit/s with sampling frequencies of 16, 22.05 and 24 kHz. MPEG-2.5 Audio Layer III is restricted to bit rates of 8, 16, 24, 32, 40, 48, 56 and 64 kbit/s with sampling frequencies of 8, 11.025, and 12 kHz.[citation needed] Because of the Nyquist–Shannon sampling theorem, frequency reproduction is always strictly less than half of the sampling frequency, and imperfect filters requires a larger margin for error (noise level versus sharpness of filter), so 8 kHz sampling rate limits the maximum frequency to 4 kHz, while 48 kHz maximum sampling rate limits an MP3 to 24 kHz sound reproduction.


Question: Having an 8 kHz sampling rate would limit the maximum frequency to how much?

Answer: 4 kHz

Several bit rates are specified in the MPEG-1 Audio Layer III standard: 32, 40, 48, 56, 64, 80, 96, 112, 128, 160, 192, 224, 256 and 320 kbit/s, with available sampling frequencies of 32, 44.1 and 48 kHz. <hl> MPEG-2 Audio Layer III allows bit rates of 8, 16, 24, 32, 40, 48, 56, 64, 80, 96, 112, 128, 144, 160 kbit/s with sampling frequencies of 16, 22.05 and 2 4 kHz . <hl> MPEG-2.5 Audio Layer III is restricted to bit rates of 8, 16, 24, 32, 40, 48, 56 and 64 kbit/s with sampling frequencies of 8, 11.025, and 12 kHz.[citation needed] Because of the Nyquist–Shannon sampling theorem, frequency reproduction is always strictly less than half of the sampling frequency, and imperfect filters requires a larger margin for error (noise level versus sharpness of filter), so 8 kHz sampling rate limits the maximum frequency to 4 kHz, while 48 kHz maximum sampling rate limits an MP3 to 24 kHz sound reproduction.

Several bit rates are specified in the MPEG-1 Audio Layer III standard: 32, 40, 48, 56, 64, 80, 96, 112, 128, 160, 192, 224, 256 and 320 kbit/s, with available sampling frequencies of 32, 44.1 and 48 kHz. MPEG-2 Audio Layer III allows bit rates of 8, 16, 24, 32, 40, 48, 56, 64, 80, 96, 112, 128, 144, 160 kbit/s with sampling frequencies of 16, 22.05 and 2<hl> 4 kHz <hl>. MPEG-2.5 Audio Layer III is restricted to bit rates of 8, 16, 24, 32, 40, 48, 56 and 64 kbit/s with sampling frequencies of 8, 11.025, and 12 kHz.[citation needed] Because of the Nyquist–Shannon sampling theorem, frequency reproduction is always strictly less than half of the sampling frequency, and imperfect filters requires a larger margin for error (noise level versus sharpness of filter), so 8 kHz sampling rate limits the maximum frequency to 4 kHz, while 48 kHz maximum sampling rate limits an MP3 to 24 kHz sound reproduction.

MPEG-2 Audio Layer III allows bit rates of 8, 16, 24, 32, 40, 48, 56, 64, 80, 96, 112, 128, 144, 160 kbit/s with sampling frequencies of 16, 22.05 and 2 <hl> 4 kHz <hl> .

question: Having an 8 kHz sampling rate would limit the maximum frequency to how much?, context: Several bit rates are specified in the MPEG-1 Audio Layer III standard: 32, 40, 48, 56, 64, 80, 96, 112, 128, 160, 192, 224, 256 and 320 kbit/s, with available sampling frequencies of 32, 44.1 and 48 kHz. MPEG-2 Audio Layer III allows bit rates of 8, 16, 24, 32, 40, 48, 56, 64, 80, 96, 112, 128, 144, 160 kbit/s with sampling frequencies of 16, 22.05 and 24 kHz. MPEG-2.5 Audio Layer III is restricted to bit rates of 8, 16, 24, 32, 40, 48, 56 and 64 kbit/s with sampling frequencies of 8, 11.025, and 12 kHz.[citation needed] Because of the Nyquist–Shannon sampling theorem, frequency reproduction is always strictly less than half of the sampling frequency, and imperfect filters requires a larger margin for error (noise level versus sharpness of filter), so 8 kHz sampling rate limits the maximum frequency to 4 kHz, while 48 kHz maximum sampling rate limits an MP3 to 24 kHz sound reproduction.


Question: What kind of filter requires a larger margin for error?

Answer: imperfect filters

Several bit rates are specified in the MPEG-1 Audio Layer III standard: 32, 40, 48, 56, 64, 80, 96, 112, 128, 160, 192, 224, 256 and 320 kbit/s, with available sampling frequencies of 32, 44.1 and 48 kHz. MPEG-2 Audio Layer III allows bit rates of 8, 16, 24, 32, 40, 48, 56, 64, 80, 96, 112, 128, 144, 160 kbit/s with sampling frequencies of 16, 22.05 and 24 kHz. <hl> MPEG-2.5 Audio Layer III is restricted to bit rates of 8, 16, 24, 32, 40, 48, 56 and 64 kbit/s with sampling frequencies of 8, 11.025, and 12 kHz.[citation needed] Because of the Nyquist–Shannon sampling theorem, frequency reproduction is always strictly less than half of the sampling frequency, and imperfect filters requires a larger margin for error (noise level versus sharpness of filter), so 8 kHz sampling rate limits the maximum frequency to 4 kHz, while 48 kHz maximum sampling rate limits an MP3 to 24 kHz sound reproduction. <hl>

Several bit rates are specified in the MPEG-1 Audio Layer III standard: 32, 40, 48, 56, 64, 80, 96, 112, 128, 160, 192, 224, 256 and 320 kbit/s, with available sampling frequencies of 32, 44.1 and 48 kHz. MPEG-2 Audio Layer III allows bit rates of 8, 16, 24, 32, 40, 48, 56, 64, 80, 96, 112, 128, 144, 160 kbit/s with sampling frequencies of 16, 22.05 and 24 kHz. MPEG-2.5 Audio Layer III is restricted to bit rates of 8, 16, 24, 32, 40, 48, 56 and 64 kbit/s with sampling frequencies of 8, 11.025, and 12 kHz.[citation needed] Because of the Nyquist–Shannon sampling theorem, frequency reproduction is always strictly less than half of the sampling frequency, and <hl> imperfect filters <hl> requires a larger margin for error (noise level versus sharpness of filter), so 8 kHz sampling rate limits the maximum frequency to 4 kHz, while 48 kHz maximum sampling rate limits an MP3 to 24 kHz sound reproduction.

question: What kind of filter requires a larger margin for error?, context: Several bit rates are specified in the MPEG-1 Audio Layer III standard: 32, 40, 48, 56, 64, 80, 96, 112, 128, 160, 192, 224, 256 and 320 kbit/s, with available sampling frequencies of 32, 44.1 and 48 kHz. MPEG-2 Audio Layer III allows bit rates of 8, 16, 24, 32, 40, 48, 56, 64, 80, 96, 112, 128, 144, 160 kbit/s with sampling frequencies of 16, 22.05 and 24 kHz. MPEG-2.5 Audio Layer III is restricted to bit rates of 8, 16, 24, 32, 40, 48, 56 and 64 kbit/s with sampling frequencies of 8, 11.025, and 12 kHz.[citation needed] Because of the Nyquist–Shannon sampling theorem, frequency reproduction is always strictly less than half of the sampling frequency, and imperfect filters requires a larger margin for error (noise level versus sharpness of filter), so 8 kHz sampling rate limits the maximum frequency to 4 kHz, while 48 kHz maximum sampling rate limits an MP3 to 24 kHz sound reproduction.


Question: A sound reproduction of 24 kHz would represent which value of a maximum sampling rate?

Answer: 48

<hl> Several bit rates are specified in the MPEG-1 Audio Layer III standard: 32, 40, 48 , 56, 64, 80, 96, 112, 128, 160, 192, 224, 256 and 320 kbit/s, with available sampling frequencies of 32, 44.1 and 48 kHz. <hl> MPEG-2 Audio Layer III allows bit rates of 8, 16, 24, 32, 40, 48, 56, 64, 80, 96, 112, 128, 144, 160 kbit/s with sampling frequencies of 16, 22.05 and 24 kHz. MPEG-2.5 Audio Layer III is restricted to bit rates of 8, 16, 24, 32, 40, 48, 56 and 64 kbit/s with sampling frequencies of 8, 11.025, and 12 kHz.[citation needed] Because of the Nyquist–Shannon sampling theorem, frequency reproduction is always strictly less than half of the sampling frequency, and imperfect filters requires a larger margin for error (noise level versus sharpness of filter), so 8 kHz sampling rate limits the maximum frequency to 4 kHz, while 48 kHz maximum sampling rate limits an MP3 to 24 kHz sound reproduction.

Several bit rates are specified in the MPEG-1 Audio Layer III standard: 32, 40, <hl> 48 <hl>, 56, 64, 80, 96, 112, 128, 160, 192, 224, 256 and 320 kbit/s, with available sampling frequencies of 32, 44.1 and 48 kHz. MPEG-2 Audio Layer III allows bit rates of 8, 16, 24, 32, 40, 48, 56, 64, 80, 96, 112, 128, 144, 160 kbit/s with sampling frequencies of 16, 22.05 and 24 kHz. MPEG-2.5 Audio Layer III is restricted to bit rates of 8, 16, 24, 32, 40, 48, 56 and 64 kbit/s with sampling frequencies of 8, 11.025, and 12 kHz.[citation needed] Because of the Nyquist–Shannon sampling theorem, frequency reproduction is always strictly less than half of the sampling frequency, and imperfect filters requires a larger margin for error (noise level versus sharpness of filter), so 8 kHz sampling rate limits the maximum frequency to 4 kHz, while 48 kHz maximum sampling rate limits an MP3 to 24 kHz sound reproduction.

Several bit rates are specified in the MPEG-1 Audio Layer III standard: 32, 40, <hl> 48 <hl> , 56, 64, 80, 96, 112, 128, 160, 192, 224, 256 and 320 kbit/s, with available sampling frequencies of 32, 44.1 and 48 kHz.

question: A sound reproduction of 24 kHz would represent which value of a maximum sampling rate?, context: Several bit rates are specified in the MPEG-1 Audio Layer III standard: 32, 40, 48, 56, 64, 80, 96, 112, 128, 160, 192, 224, 256 and 320 kbit/s, with available sampling frequencies of 32, 44.1 and 48 kHz. MPEG-2 Audio Layer III allows bit rates of 8, 16, 24, 32, 40, 48, 56, 64, 80, 96, 112, 128, 144, 160 kbit/s with sampling frequencies of 16, 22.05 and 24 kHz. MPEG-2.5 Audio Layer III is restricted to bit rates of 8, 16, 24, 32, 40, 48, 56 and 64 kbit/s with sampling frequencies of 8, 11.025, and 12 kHz.[citation needed] Because of the Nyquist–Shannon sampling theorem, frequency reproduction is always strictly less than half of the sampling frequency, and imperfect filters requires a larger margin for error (noise level versus sharpness of filter), so 8 kHz sampling rate limits the maximum frequency to 4 kHz, while 48 kHz maximum sampling rate limits an MP3 to 24 kHz sound reproduction.


Question: What sampling rate is used for CD audio?

Answer: 44.1 kHz

<hl> A sample rate of 44.1 kHz is almost always used, because this is also used for CD audio, the main source used for creating MP3 files. <hl> A greater variety of bit rates are used on the Internet. The rate of 128 kbit/s is commonly used, at a compression ratio of 11:1, offering adequate audio quality in a relatively small space. As Internet bandwidth availability and hard drive sizes have increased, higher bit rates up to 320 kbit/s are widespread.

A sample rate of <hl> 44.1 kHz <hl> is almost always used, because this is also used for CD audio, the main source used for creating MP3 files. A greater variety of bit rates are used on the Internet. The rate of 128 kbit/s is commonly used, at a compression ratio of 11:1, offering adequate audio quality in a relatively small space. As Internet bandwidth availability and hard drive sizes have increased, higher bit rates up to 320 kbit/s are widespread.

question: What sampling rate is used for CD audio?, context: A sample rate of 44.1 kHz is almost always used, because this is also used for CD audio, the main source used for creating MP3 files. A greater variety of bit rates are used on the Internet. The rate of 128 kbit/s is commonly used, at a compression ratio of 11:1, offering adequate audio quality in a relatively small space. As Internet bandwidth availability and hard drive sizes have increased, higher bit rates up to 320 kbit/s are widespread.


Question: What is the main source used for creating MP3 files?

Answer: CD audio

<hl> A sample rate of 44.1 kHz is almost always used, because this is also used for CD audio , the main source used for creating MP3 files. <hl> A greater variety of bit rates are used on the Internet. The rate of 128 kbit/s is commonly used, at a compression ratio of 11:1, offering adequate audio quality in a relatively small space. As Internet bandwidth availability and hard drive sizes have increased, higher bit rates up to 320 kbit/s are widespread.

A sample rate of 44.1 kHz is almost always used, because this is also used for <hl> CD audio <hl>, the main source used for creating MP3 files. A greater variety of bit rates are used on the Internet. The rate of 128 kbit/s is commonly used, at a compression ratio of 11:1, offering adequate audio quality in a relatively small space. As Internet bandwidth availability and hard drive sizes have increased, higher bit rates up to 320 kbit/s are widespread.

A sample rate of 44.1 kHz is almost always used, because this is also used for <hl> CD audio <hl> , the main source used for creating MP3 files.

question: What is the main source used for creating MP3 files?, context: A sample rate of 44.1 kHz is almost always used, because this is also used for CD audio, the main source used for creating MP3 files. A greater variety of bit rates are used on the Internet. The rate of 128 kbit/s is commonly used, at a compression ratio of 11:1, offering adequate audio quality in a relatively small space. As Internet bandwidth availability and hard drive sizes have increased, higher bit rates up to 320 kbit/s are widespread.


Question: Where can one find a greater variety of bit rates?

Answer: the Internet

A sample rate of 44.1 kHz is almost always used, because this is also used for CD audio, the main source used for creating MP3 files. <hl> A greater variety of bit rates are used on the Internet . <hl> The rate of 128 kbit/s is commonly used, at a compression ratio of 11:1, offering adequate audio quality in a relatively small space. As Internet bandwidth availability and hard drive sizes have increased, higher bit rates up to 320 kbit/s are widespread.

A sample rate of 44.1 kHz is almost always used, because this is also used for CD audio, the main source used for creating MP3 files. A greater variety of bit rates are used on <hl> the Internet <hl>. The rate of 128 kbit/s is commonly used, at a compression ratio of 11:1, offering adequate audio quality in a relatively small space. As Internet bandwidth availability and hard drive sizes have increased, higher bit rates up to 320 kbit/s are widespread.

A greater variety of bit rates are used on <hl> the Internet <hl> .

question: Where can one find a greater variety of bit rates?, context: A sample rate of 44.1 kHz is almost always used, because this is also used for CD audio, the main source used for creating MP3 files. A greater variety of bit rates are used on the Internet. The rate of 128 kbit/s is commonly used, at a compression ratio of 11:1, offering adequate audio quality in a relatively small space. As Internet bandwidth availability and hard drive sizes have increased, higher bit rates up to 320 kbit/s are widespread.


Question: The common bit rate on the internet is 128 kbit/s using which compression ratio?

Answer: 11:1

A sample rate of 44.1 kHz is almost always used, because this is also used for CD audio, the main source used for creating MP3 files. A greater variety of bit rates are used on the Internet. <hl> The rate of 128 kbit/s is commonly used, at a compression ratio of 11:1 , offering adequate audio quality in a relatively small space. <hl> As Internet bandwidth availability and hard drive sizes have increased, higher bit rates up to 320 kbit/s are widespread.

A sample rate of 44.1 kHz is almost always used, because this is also used for CD audio, the main source used for creating MP3 files. A greater variety of bit rates are used on the Internet. The rate of 128 kbit/s is commonly used, at a compression ratio of <hl> 11:1 <hl>, offering adequate audio quality in a relatively small space. As Internet bandwidth availability and hard drive sizes have increased, higher bit rates up to 320 kbit/s are widespread.

The rate of 128 kbit/s is commonly used, at a compression ratio of <hl> 11:1 <hl> , offering adequate audio quality in a relatively small space.

question: The common bit rate on the internet is 128 kbit/s using which compression ratio?, context: A sample rate of 44.1 kHz is almost always used, because this is also used for CD audio, the main source used for creating MP3 files. A greater variety of bit rates are used on the Internet. The rate of 128 kbit/s is commonly used, at a compression ratio of 11:1, offering adequate audio quality in a relatively small space. As Internet bandwidth availability and hard drive sizes have increased, higher bit rates up to 320 kbit/s are widespread.


Question: As technology advances, what is another higher bit rate that is beginning to spread?

Answer: 320 kbit/s

A sample rate of 44.1 kHz is almost always used, because this is also used for CD audio, the main source used for creating MP3 files. A greater variety of bit rates are used on the Internet. The rate of 128 kbit/s is commonly used, at a compression ratio of 11:1, offering adequate audio quality in a relatively small space. <hl> As Internet bandwidth availability and hard drive sizes have increased, higher bit rates up to 320 kbit/s are widespread. <hl>

A sample rate of 44.1 kHz is almost always used, because this is also used for CD audio, the main source used for creating MP3 files. A greater variety of bit rates are used on the Internet. The rate of 128 kbit/s is commonly used, at a compression ratio of 11:1, offering adequate audio quality in a relatively small space. As Internet bandwidth availability and hard drive sizes have increased, higher bit rates up to <hl> 320 kbit/s <hl> are widespread.

question: As technology advances, what is another higher bit rate that is beginning to spread?, context: A sample rate of 44.1 kHz is almost always used, because this is also used for CD audio, the main source used for creating MP3 files. A greater variety of bit rates are used on the Internet. The rate of 128 kbit/s is commonly used, at a compression ratio of 11:1, offering adequate audio quality in a relatively small space. As Internet bandwidth availability and hard drive sizes have increased, higher bit rates up to 320 kbit/s are widespread.


Question: What is stored on an audio-CD that has a bit rate of 1,411.2 kbit/s?

Answer: Uncompressed audio

<hl> Uncompressed audio as stored on an audio-CD has a bit rate of 1,411.2 kbit/s, (16 bit/sample × 44100 samples/second × 2 channels / 1000 bits/kilobit), so the bitrates 128, 160 and 192 kbit/s represent compression ratios of approximately 11:1, 9:1 and 7:1 respectively. <hl>

<hl> Uncompressed audio <hl> as stored on an audio-CD has a bit rate of 1,411.2 kbit/s, (16 bit/sample × 44100 samples/second × 2 channels / 1000 bits/kilobit), so the bitrates 128, 160 and 192 kbit/s represent compression ratios of approximately 11:1, 9:1 and 7:1 respectively.

question: What is stored on an audio-CD that has a bit rate of 1,411.2 kbit/s?, context: Uncompressed audio as stored on an audio-CD has a bit rate of 1,411.2 kbit/s, (16 bit/sample × 44100 samples/second × 2 channels / 1000 bits/kilobit), so the bitrates 128, 160 and 192 kbit/s represent compression ratios of approximately 11:1, 9:1 and 7:1 respectively.


Question: What does a bit rate of 128 represent in terms of compression ratio?

Answer: 11:1

<hl> Uncompressed audio as stored on an audio-CD has a bit rate of 1,411.2 kbit/s, (16 bit/sample × 44100 samples/second × 2 channels / 1000 bits/kilobit), so the bitrates 128, 160 and 192 kbit/s represent compression ratios of approximately 11:1 , 9:1 and 7:1 respectively. <hl>

Uncompressed audio as stored on an audio-CD has a bit rate of 1,411.2 kbit/s, (16 bit/sample × 44100 samples/second × 2 channels / 1000 bits/kilobit), so the bitrates 128, 160 and 192 kbit/s represent compression ratios of approximately <hl> 11:1 <hl>, 9:1 and 7:1 respectively.

Uncompressed audio as stored on an audio-CD has a bit rate of 1,411.2 kbit/s, (16 bit/sample × 44100 samples/second × 2 channels / 1000 bits/kilobit), so the bitrates 128, 160 and 192 kbit/s represent compression ratios of approximately <hl> 11:1 <hl> , 9:1 and 7:1 respectively.

question: What does a bit rate of 128 represent in terms of compression ratio?, context: Uncompressed audio as stored on an audio-CD has a bit rate of 1,411.2 kbit/s, (16 bit/sample × 44100 samples/second × 2 channels / 1000 bits/kilobit), so the bitrates 128, 160 and 192 kbit/s represent compression ratios of approximately 11:1, 9:1 and 7:1 respectively.


Question: What would a bit rate of 160 correspond to in terms of compression ratio?

Answer: 9:1

<hl> Uncompressed audio as stored on an audio-CD has a bit rate of 1,411.2 kbit/s, (16 bit/sample × 44100 samples/second × 2 channels / 1000 bits/kilobit), so the bitrates 128, 160 and 192 kbit/s represent compression ratios of approximately 11:1, 9:1 and 7:1 respectively. <hl>

Uncompressed audio as stored on an audio-CD has a bit rate of 1,411.2 kbit/s, (16 bit/sample × 44100 samples/second × 2 channels / 1000 bits/kilobit), so the bitrates 128, 160 and 192 kbit/s represent compression ratios of approximately 11:1, <hl> 9:1 <hl> and 7:1 respectively.

question: What would a bit rate of 160 correspond to in terms of compression ratio?, context: Uncompressed audio as stored on an audio-CD has a bit rate of 1,411.2 kbit/s, (16 bit/sample × 44100 samples/second × 2 channels / 1000 bits/kilobit), so the bitrates 128, 160 and 192 kbit/s represent compression ratios of approximately 11:1, 9:1 and 7:1 respectively.


Question: What would a bit rate of 192 kbit/s have for a compression ratio?

Answer: 7:1

<hl> Uncompressed audio as stored on an audio-CD has a bit rate of 1,411.2 kbit/s, (16 bit/sample × 44100 samples/second × 2 channels / 1000 bits/kilobit), so the bitrates 128, 160 and 192 kbit/s represent compression ratios of approximately 11:1, 9:1 and 7:1 respectively. <hl>

Uncompressed audio as stored on an audio-CD has a bit rate of 1,411.2 kbit/s, (16 bit/sample × 44100 samples/second × 2 channels / 1000 bits/kilobit), so the bitrates 128, 160 and 192 kbit/s represent compression ratios of approximately 11:1, 9:1 and <hl> 7:1 <hl> respectively.

question: What would a bit rate of 192 kbit/s have for a compression ratio?, context: Uncompressed audio as stored on an audio-CD has a bit rate of 1,411.2 kbit/s, (16 bit/sample × 44100 samples/second × 2 channels / 1000 bits/kilobit), so the bitrates 128, 160 and 192 kbit/s represent compression ratios of approximately 11:1, 9:1 and 7:1 respectively.


Question: The LAME encoder allows bit rates that are what?

Answer: Non-standard

<hl> Non-standard bit rates up to 640 kbit/s can be achieved with the LAME encoder and the freeformat option, although few MP3 players can play those files. <hl> According to the ISO standard, decoders are only required to be able to decode streams up to 320 kbit/s.

<hl> Non-standard <hl> bit rates up to 640 kbit/s can be achieved with the LAME encoder and the freeformat option, although few MP3 players can play those files. According to the ISO standard, decoders are only required to be able to decode streams up to 320 kbit/s.

question: The LAME encoder allows bit rates that are what?, context: Non-standard bit rates up to 640 kbit/s can be achieved with the LAME encoder and the freeformat option, although few MP3 players can play those files. According to the ISO standard, decoders are only required to be able to decode streams up to 320 kbit/s.


Question: Even though few MP3 players can play it, LAME also offers which option?

Answer: freeformat

<hl> Non-standard bit rates up to 640 kbit/s can be achieved with the LAME encoder and the freeformat option, although few MP3 players can play those files. <hl> According to the ISO standard, decoders are only required to be able to decode streams up to 320 kbit/s.

Non-standard bit rates up to 640 kbit/s can be achieved with the LAME encoder and the <hl> freeformat <hl> option, although few MP3 players can play those files. According to the ISO standard, decoders are only required to be able to decode streams up to 320 kbit/s.

question: Even though few MP3 players can play it, LAME also offers which option?, context: Non-standard bit rates up to 640 kbit/s can be achieved with the LAME encoder and the freeformat option, although few MP3 players can play those files. According to the ISO standard, decoders are only required to be able to decode streams up to 320 kbit/s.


Question: What is the highest bit rate the LAME encoder allows?

Answer: 640 kbit/s

<hl> Non-standard bit rates up to 640 kbit/s can be achieved with the LAME encoder and the freeformat option, although few MP3 players can play those files. <hl> According to the ISO standard, decoders are only required to be able to decode streams up to 320 kbit/s.

Non-standard bit rates up to <hl> 640 kbit/s <hl> can be achieved with the LAME encoder and the freeformat option, although few MP3 players can play those files. According to the ISO standard, decoders are only required to be able to decode streams up to 320 kbit/s.

question: What is the highest bit rate the LAME encoder allows?, context: Non-standard bit rates up to 640 kbit/s can be achieved with the LAME encoder and the freeformat option, although few MP3 players can play those files. According to the ISO standard, decoders are only required to be able to decode streams up to 320 kbit/s.


Question: The ISO standard dictates that decoders only need to be able to decode streams that have how high of a bit rate?

Answer: 320

Non-standard bit rates up to 640 kbit/s can be achieved with the LAME encoder and the freeformat option, although few MP3 players can play those files. <hl> According to the ISO standard, decoders are only required to be able to decode streams up to 320 kbit/s. <hl>

Non-standard bit rates up to 640 kbit/s can be achieved with the LAME encoder and the freeformat option, although few MP3 players can play those files. According to the ISO standard, decoders are only required to be able to decode streams up to <hl> 320 <hl> kbit/s.

question: The ISO standard dictates that decoders only need to be able to decode streams that have how high of a bit rate?, context: Non-standard bit rates up to 640 kbit/s can be achieved with the LAME encoder and the freeformat option, although few MP3 players can play those files. According to the ISO standard, decoders are only required to be able to decode streams up to 320 kbit/s.


Question: What does the term CBR mean?

Answer: Constant Bit Rate

<hl> Early MPEG Layer III encoders used what is now called Constant Bit Rate (CBR). <hl> The software was only able to use a uniform bitrate on all frames in an MP3 file. Later more sophisticated MP3 encoders were able to use the bit reservoir to target an average bit rate selecting the encoding rate for each frame based on the complexity of the sound in that portion of the recording.

Early MPEG Layer III encoders used what is now called <hl> Constant Bit Rate <hl> (CBR). The software was only able to use a uniform bitrate on all frames in an MP3 file. Later more sophisticated MP3 encoders were able to use the bit reservoir to target an average bit rate selecting the encoding rate for each frame based on the complexity of the sound in that portion of the recording.

question: What does the term CBR mean?, context: Early MPEG Layer III encoders used what is now called Constant Bit Rate (CBR). The software was only able to use a uniform bitrate on all frames in an MP3 file. Later more sophisticated MP3 encoders were able to use the bit reservoir to target an average bit rate selecting the encoding rate for each frame based on the complexity of the sound in that portion of the recording.


Question: Which early MPEG layer used CBR?

Answer: Layer III

<hl> Early MPEG Layer III encoders used what is now called Constant Bit Rate (CBR). <hl> The software was only able to use a uniform bitrate on all frames in an MP3 file. Later more sophisticated MP3 encoders were able to use the bit reservoir to target an average bit rate selecting the encoding rate for each frame based on the complexity of the sound in that portion of the recording.

Early MPEG <hl> Layer III <hl> encoders used what is now called Constant Bit Rate (CBR). The software was only able to use a uniform bitrate on all frames in an MP3 file. Later more sophisticated MP3 encoders were able to use the bit reservoir to target an average bit rate selecting the encoding rate for each frame based on the complexity of the sound in that portion of the recording.

question: Which early MPEG layer used CBR?, context: Early MPEG Layer III encoders used what is now called Constant Bit Rate (CBR). The software was only able to use a uniform bitrate on all frames in an MP3 file. Later more sophisticated MP3 encoders were able to use the bit reservoir to target an average bit rate selecting the encoding rate for each frame based on the complexity of the sound in that portion of the recording.


Question: The early software was restricted to which kind of bitrate?

Answer: uniform

Early MPEG Layer III encoders used what is now called Constant Bit Rate (CBR). <hl> The software was only able to use a uniform bitrate on all frames in an MP3 file. <hl> Later more sophisticated MP3 encoders were able to use the bit reservoir to target an average bit rate selecting the encoding rate for each frame based on the complexity of the sound in that portion of the recording.

Early MPEG Layer III encoders used what is now called Constant Bit Rate (CBR). The software was only able to use a <hl> uniform <hl> bitrate on all frames in an MP3 file. Later more sophisticated MP3 encoders were able to use the bit reservoir to target an average bit rate selecting the encoding rate for each frame based on the complexity of the sound in that portion of the recording.

question: The early software was restricted to which kind of bitrate?, context: Early MPEG Layer III encoders used what is now called Constant Bit Rate (CBR). The software was only able to use a uniform bitrate on all frames in an MP3 file. Later more sophisticated MP3 encoders were able to use the bit reservoir to target an average bit rate selecting the encoding rate for each frame based on the complexity of the sound in that portion of the recording.