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

Answer: 1998

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

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

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

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


Question: What could the reference software demonstrate?

Answer: real time hardware decoding

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

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

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


Question: When was the first software MP3 encoder released?

Answer: 7 July 1994

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

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

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

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


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

Answer: l3enc

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

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

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

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


Question: What was the filename extension?

Answer: .mp3

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

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

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


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

Answer: WinPlay3

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

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

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


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

Answer: 1000 MB

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

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

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

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


Question: What was Jonathan Sterne's profession?

Answer: sound scholar

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

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

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


Question: Which nationality was the hacker who acquired I3enc?

Answer: Australian

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

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

question: Which nationality was the hacker who acquired I3enc?, context: As sound scholar Jonathan Sterne notes, "An Australian hacker acquired l3enc using a stolen credit card. The hacker then reverse-engineered the software, wrote a new user interface, and redistributed it for free, naming it "thank you Fraunhofer"".


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

Answer: stolen credit card

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

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

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

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


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

Answer: user interface

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

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

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

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


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

Answer: free

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

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

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

question: How much did the new released program by the hacker cost?, context: As sound scholar Jonathan Sterne notes, "An Australian hacker acquired l3enc using a stolen credit card. The hacker then reverse-engineered the software, wrote a new user interface, and redistributed it for free, naming it "thank you Fraunhofer"".


Question: Where did MP3s begin to spread?

Answer: the Internet

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

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

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

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


Question: Which audio player was released in 1997?

Answer: Winamp

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

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

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

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


Question: Who released the audio player?

Answer: Nullsoft

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

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

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

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


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

Answer: MPMan

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

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

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

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


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

Answer: South Korea

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

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

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

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


Question: Which website offered MP3s for free?

Answer: mp3.com

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

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

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


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

Answer: thousands

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

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

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


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

Answer: peer-to-peer

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

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

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


Question: How did people come into possession of MP3s?

Answer: ripped from CDs

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

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

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

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


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

Answer: Napster

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

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

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

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


Question: What kind of infringement resulted from sharing MP3s?

Answer: copyright

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

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

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


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

Answer: music piracy

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

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

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

question: What name did the record companies associate with MP3 file sharing?, context: The ease of creating and sharing MP3s resulted in widespread copyright infringement. Major record companies argued that this free sharing of music reduced sales, and called it "music piracy". They reacted by pursuing lawsuits against Napster (which was eventually shut down and later sold) and against individual users who engaged in file sharing.


Question: Who was the target of the record companies?

Answer: Napster

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

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

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


Question: What happened to Napster?

Answer: shut down and later sold

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

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

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

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


Question: What kind of MP3 file sharing continues on?

Answer: Unauthorized

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

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

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


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

Answer: authorized

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

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

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

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


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

Answer: unrestricted

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

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

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


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

Answer: MP3

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

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

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


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

Answer: MP3 frames

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

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

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

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


Question: What is a sequence of MP3 frames called?

Answer: elementary stream

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

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

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

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


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

Answer: dard

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

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

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

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


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

Answer: two

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

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

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


Question: MP3 files today contain what kind of metadeta?

Answer: ID3

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

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

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


Question: Which standard does not include a specification for an MP3 encoder?

Answer: MPEG-1

<hl> The MPEG-1 standard does not include a precise specification for an MP3 encoder, but does provide example psychoacoustic models, rate loop, and the like in the non-normative part of the original standard. <hl> At present, these suggested implementations are quite dated. Implementers of the standard were supposed to devise their own algorithms suitable for removing parts of the information from the audio input. As a result, there are many different MP3 encoders available, each producing files of differing quality. Comparisons are widely available, so it is easy for a prospective user of an encoder to research the best choice. An encoder that is proficient at encoding at higher bit rates (such as LAME) is not necessarily as good at lower bit rates.

The <hl> MPEG-1 <hl> standard does not include a precise specification for an MP3 encoder, but does provide example psychoacoustic models, rate loop, and the like in the non-normative part of the original standard. At present, these suggested implementations are quite dated. Implementers of the standard were supposed to devise their own algorithms suitable for removing parts of the information from the audio input. As a result, there are many different MP3 encoders available, each producing files of differing quality. Comparisons are widely available, so it is easy for a prospective user of an encoder to research the best choice. An encoder that is proficient at encoding at higher bit rates (such as LAME) is not necessarily as good at lower bit rates.

question: Which standard does not include a specification for an MP3 encoder?, context: The MPEG-1 standard does not include a precise specification for an MP3 encoder, but does provide example psychoacoustic models, rate loop, and the like in the non-normative part of the original standard. At present, these suggested implementations are quite dated. Implementers of the standard were supposed to devise their own algorithms suitable for removing parts of the information from the audio input. As a result, there are many different MP3 encoders available, each producing files of differing quality. Comparisons are widely available, so it is easy for a prospective user of an encoder to research the best choice. An encoder that is proficient at encoding at higher bit rates (such as LAME) is not necessarily as good at lower bit rates.


Question: Example psychoacoustic models and rate loops can be foundin which part of the original standard?

Answer: non-normative

<hl> The MPEG-1 standard does not include a precise specification for an MP3 encoder, but does provide example psychoacoustic models, rate loop, and the like in the non-normative part of the original standard. <hl> At present, these suggested implementations are quite dated. Implementers of the standard were supposed to devise their own algorithms suitable for removing parts of the information from the audio input. As a result, there are many different MP3 encoders available, each producing files of differing quality. Comparisons are widely available, so it is easy for a prospective user of an encoder to research the best choice. An encoder that is proficient at encoding at higher bit rates (such as LAME) is not necessarily as good at lower bit rates.

The MPEG-1 standard does not include a precise specification for an MP3 encoder, but does provide example psychoacoustic models, rate loop, and the like in the <hl> non-normative <hl> part of the original standard. At present, these suggested implementations are quite dated. Implementers of the standard were supposed to devise their own algorithms suitable for removing parts of the information from the audio input. As a result, there are many different MP3 encoders available, each producing files of differing quality. Comparisons are widely available, so it is easy for a prospective user of an encoder to research the best choice. An encoder that is proficient at encoding at higher bit rates (such as LAME) is not necessarily as good at lower bit rates.

question: Example psychoacoustic models and rate loops can be foundin which part of the original standard?, context: The MPEG-1 standard does not include a precise specification for an MP3 encoder, but does provide example psychoacoustic models, rate loop, and the like in the non-normative part of the original standard. At present, these suggested implementations are quite dated. Implementers of the standard were supposed to devise their own algorithms suitable for removing parts of the information from the audio input. As a result, there are many different MP3 encoders available, each producing files of differing quality. Comparisons are widely available, so it is easy for a prospective user of an encoder to research the best choice. An encoder that is proficient at encoding at higher bit rates (such as LAME) is not necessarily as good at lower bit rates.


Question: What were implementers of the standard supposed to devise?

Answer: their own algorithms

The MPEG-1 standard does not include a precise specification for an MP3 encoder, but does provide example psychoacoustic models, rate loop, and the like in the non-normative part of the original standard. At present, these suggested implementations are quite dated. <hl> Implementers of the standard were supposed to devise their own algorithms suitable for removing parts of the information from the audio input. <hl> As a result, there are many different MP3 encoders available, each producing files of differing quality. Comparisons are widely available, so it is easy for a prospective user of an encoder to research the best choice. An encoder that is proficient at encoding at higher bit rates (such as LAME) is not necessarily as good at lower bit rates.

The MPEG-1 standard does not include a precise specification for an MP3 encoder, but does provide example psychoacoustic models, rate loop, and the like in the non-normative part of the original standard. At present, these suggested implementations are quite dated. Implementers of the standard were supposed to devise <hl> their own algorithms <hl> suitable for removing parts of the information from the audio input. As a result, there are many different MP3 encoders available, each producing files of differing quality. Comparisons are widely available, so it is easy for a prospective user of an encoder to research the best choice. An encoder that is proficient at encoding at higher bit rates (such as LAME) is not necessarily as good at lower bit rates.

question: What were implementers of the standard supposed to devise?, context: The MPEG-1 standard does not include a precise specification for an MP3 encoder, but does provide example psychoacoustic models, rate loop, and the like in the non-normative part of the original standard. At present, these suggested implementations are quite dated. Implementers of the standard were supposed to devise their own algorithms suitable for removing parts of the information from the audio input. As a result, there are many different MP3 encoders available, each producing files of differing quality. Comparisons are widely available, so it is easy for a prospective user of an encoder to research the best choice. An encoder that is proficient at encoding at higher bit rates (such as LAME) is not necessarily as good at lower bit rates.


Question: It is easy for a prospective user of an encoder to research the best choice because of what factor?

Answer: Comparisons are widely available

The MPEG-1 standard does not include a precise specification for an MP3 encoder, but does provide example psychoacoustic models, rate loop, and the like in the non-normative part of the original standard. At present, these suggested implementations are quite dated. Implementers of the standard were supposed to devise their own algorithms suitable for removing parts of the information from the audio input. As a result, there are many different MP3 encoders available, each producing files of differing quality. <hl> Comparisons are widely available , so it is easy for a prospective user of an encoder to research the best choice. <hl> An encoder that is proficient at encoding at higher bit rates (such as LAME) is not necessarily as good at lower bit rates.

The MPEG-1 standard does not include a precise specification for an MP3 encoder, but does provide example psychoacoustic models, rate loop, and the like in the non-normative part of the original standard. At present, these suggested implementations are quite dated. Implementers of the standard were supposed to devise their own algorithms suitable for removing parts of the information from the audio input. As a result, there are many different MP3 encoders available, each producing files of differing quality. <hl> Comparisons are widely available <hl>, so it is easy for a prospective user of an encoder to research the best choice. An encoder that is proficient at encoding at higher bit rates (such as LAME) is not necessarily as good at lower bit rates.

<hl> Comparisons are widely available <hl> , so it is easy for a prospective user of an encoder to research the best choice.

question: It is easy for a prospective user of an encoder to research the best choice because of what factor?, context: The MPEG-1 standard does not include a precise specification for an MP3 encoder, but does provide example psychoacoustic models, rate loop, and the like in the non-normative part of the original standard. At present, these suggested implementations are quite dated. Implementers of the standard were supposed to devise their own algorithms suitable for removing parts of the information from the audio input. As a result, there are many different MP3 encoders available, each producing files of differing quality. Comparisons are widely available, so it is easy for a prospective user of an encoder to research the best choice. An encoder that is proficient at encoding at higher bit rates (such as LAME) is not necessarily as good at lower bit rates.


Question: An encoder that is proficient at encoding at higher bit rates might be worse at what?

Answer: lower bit rates

The MPEG-1 standard does not include a precise specification for an MP3 encoder, but does provide example psychoacoustic models, rate loop, and the like in the non-normative part of the original standard. At present, these suggested implementations are quite dated. Implementers of the standard were supposed to devise their own algorithms suitable for removing parts of the information from the audio input. As a result, there are many different MP3 encoders available, each producing files of differing quality. Comparisons are widely available, so it is easy for a prospective user of an encoder to research the best choice. <hl> An encoder that is proficient at encoding at higher bit rates (such as LAME) is not necessarily as good at lower bit rates . <hl>

The MPEG-1 standard does not include a precise specification for an MP3 encoder, but does provide example psychoacoustic models, rate loop, and the like in the non-normative part of the original standard. At present, these suggested implementations are quite dated. Implementers of the standard were supposed to devise their own algorithms suitable for removing parts of the information from the audio input. As a result, there are many different MP3 encoders available, each producing files of differing quality. Comparisons are widely available, so it is easy for a prospective user of an encoder to research the best choice. An encoder that is proficient at encoding at higher bit rates (such as LAME) is not necessarily as good at <hl> lower bit rates <hl>.

An encoder that is proficient at encoding at higher bit rates (such as LAME) is not necessarily as good at <hl> lower bit rates <hl> .

question: An encoder that is proficient at encoding at higher bit rates might be worse at what?, context: The MPEG-1 standard does not include a precise specification for an MP3 encoder, but does provide example psychoacoustic models, rate loop, and the like in the non-normative part of the original standard. At present, these suggested implementations are quite dated. Implementers of the standard were supposed to devise their own algorithms suitable for removing parts of the information from the audio input. As a result, there are many different MP3 encoders available, each producing files of differing quality. Comparisons are widely available, so it is easy for a prospective user of an encoder to research the best choice. An encoder that is proficient at encoding at higher bit rates (such as LAME) is not necessarily as good at lower bit rates.


Question: How many domain samples are taken during encoding?

Answer: 576

<hl> During encoding, 576 time-domain samples are taken and are transformed to 576 frequency-domain samples.[clarification needed] If there is a transient, 192 samples are taken instead of 576. <hl> This is done to limit the temporal spread of quantization noise accompanying the transient. (See psychoacoustics.)

During encoding, <hl> 576 <hl> time-domain samples are taken and are transformed to 576 frequency-domain samples.[clarification needed] If there is a transient, 192 samples are taken instead of 576. This is done to limit the temporal spread of quantization noise accompanying the transient. (See psychoacoustics.)

question: How many domain samples are taken during encoding?, context: During encoding, 576 time-domain samples are taken and are transformed to 576 frequency-domain samples.[clarification needed] If there is a transient, 192 samples are taken instead of 576. This is done to limit the temporal spread of quantization noise accompanying the transient. (See psychoacoustics.)


Question: Domain samples are transformed into what?

Answer: frequency-domain samples

<hl> During encoding, 576 time-domain samples are taken and are transformed to 576 frequency-domain samples .[clarification needed] If there is a transient, 192 samples are taken instead of 576. <hl> This is done to limit the temporal spread of quantization noise accompanying the transient. (See psychoacoustics.)

During encoding, 576 time-domain samples are taken and are transformed to 576 <hl> frequency-domain samples <hl>.[clarification needed] If there is a transient, 192 samples are taken instead of 576. This is done to limit the temporal spread of quantization noise accompanying the transient. (See psychoacoustics.)

During encoding, 576 time-domain samples are taken and are transformed to 576 <hl> frequency-domain samples <hl> .[clarification needed] If there is a transient, 192 samples are taken instead of 576.

question: Domain samples are transformed into what?, context: During encoding, 576 time-domain samples are taken and are transformed to 576 frequency-domain samples.[clarification needed] If there is a transient, 192 samples are taken instead of 576. This is done to limit the temporal spread of quantization noise accompanying the transient. (See psychoacoustics.)


Question: When are 192 samples taken instead of 576?

Answer: there is a transient

<hl> During encoding, 576 time-domain samples are taken and are transformed to 576 frequency-domain samples.[clarification needed] If there is a transient , 192 samples are taken instead of 576. <hl> This is done to limit the temporal spread of quantization noise accompanying the transient. (See psychoacoustics.)

During encoding, 576 time-domain samples are taken and are transformed to 576 frequency-domain samples.[clarification needed] If <hl> there is a transient <hl>, 192 samples are taken instead of 576. This is done to limit the temporal spread of quantization noise accompanying the transient. (See psychoacoustics.)

During encoding, 576 time-domain samples are taken and are transformed to 576 frequency-domain samples.[clarification needed] If <hl> there is a transient <hl> , 192 samples are taken instead of 576.

question: When are 192 samples taken instead of 576?, context: During encoding, 576 time-domain samples are taken and are transformed to 576 frequency-domain samples.[clarification needed] If there is a transient, 192 samples are taken instead of 576. This is done to limit the temporal spread of quantization noise accompanying the transient. (See psychoacoustics.)


Question: When 192 samples are taken instead of 576, it is done in an effort to limit what?

Answer: temporal spread

During encoding, 576 time-domain samples are taken and are transformed to 576 frequency-domain samples.[clarification needed] If there is a transient, 192 samples are taken instead of 576. <hl> This is done to limit the temporal spread of quantization noise accompanying the transient. <hl> (See psychoacoustics.)

During encoding, 576 time-domain samples are taken and are transformed to 576 frequency-domain samples.[clarification needed] If there is a transient, 192 samples are taken instead of 576. This is done to limit the <hl> temporal spread <hl> of quantization noise accompanying the transient. (See psychoacoustics.)

question: When 192 samples are taken instead of 576, it is done in an effort to limit what?, context: During encoding, 576 time-domain samples are taken and are transformed to 576 frequency-domain samples.[clarification needed] If there is a transient, 192 samples are taken instead of 576. This is done to limit the temporal spread of quantization noise accompanying the transient. (See psychoacoustics.)


Question: What accompanies a transient?

Answer: quantization noise

During encoding, 576 time-domain samples are taken and are transformed to 576 frequency-domain samples.[clarification needed] If there is a transient, 192 samples are taken instead of 576. <hl> This is done to limit the temporal spread of quantization noise accompanying the transient. <hl> (See psychoacoustics.)

During encoding, 576 time-domain samples are taken and are transformed to 576 frequency-domain samples.[clarification needed] If there is a transient, 192 samples are taken instead of 576. This is done to limit the temporal spread of <hl> quantization noise <hl> accompanying the transient. (See psychoacoustics.)

question: What accompanies a transient?, context: During encoding, 576 time-domain samples are taken and are transformed to 576 frequency-domain samples.[clarification needed] If there is a transient, 192 samples are taken instead of 576. This is done to limit the temporal spread of quantization noise accompanying the transient. (See psychoacoustics.)


Question: What kind of structure does a filter bank have?

Answer: tree

<hl> Due to the tree structure of the filter bank, pre-echo problems are made worse, as the combined impulse response of the two filter banks does not, and cannot, provide an optimum solution in time/frequency resolution. <hl> Additionally, the combining of the two filter banks' outputs creates aliasing problems that must be handled partially by the "aliasing compensation" stage; however, that creates excess energy to be coded in the frequency domain, thereby decreasing coding efficiency.[citation needed]

Due to the <hl> tree <hl> structure of the filter bank, pre-echo problems are made worse, as the combined impulse response of the two filter banks does not, and cannot, provide an optimum solution in time/frequency resolution. Additionally, the combining of the two filter banks' outputs creates aliasing problems that must be handled partially by the "aliasing compensation" stage; however, that creates excess energy to be coded in the frequency domain, thereby decreasing coding efficiency.[citation needed]

question: What kind of structure does a filter bank have?, context: Due to the tree structure of the filter bank, pre-echo problems are made worse, as the combined impulse response of the two filter banks does not, and cannot, provide an optimum solution in time/frequency resolution. Additionally, the combining of the two filter banks' outputs creates aliasing problems that must be handled partially by the "aliasing compensation" stage; however, that creates excess energy to be coded in the frequency domain, thereby decreasing coding efficiency.[citation needed]


Question: Due to a specific kind of structure, what kind of problems are made worse?

Answer: pre-echo problems

<hl> Due to the tree structure of the filter bank, pre-echo problems are made worse, as the combined impulse response of the two filter banks does not, and cannot, provide an optimum solution in time/frequency resolution. <hl> Additionally, the combining of the two filter banks' outputs creates aliasing problems that must be handled partially by the "aliasing compensation" stage; however, that creates excess energy to be coded in the frequency domain, thereby decreasing coding efficiency.[citation needed]

Due to the tree structure of the filter bank, <hl> pre-echo problems <hl> are made worse, as the combined impulse response of the two filter banks does not, and cannot, provide an optimum solution in time/frequency resolution. Additionally, the combining of the two filter banks' outputs creates aliasing problems that must be handled partially by the "aliasing compensation" stage; however, that creates excess energy to be coded in the frequency domain, thereby decreasing coding efficiency.[citation needed]

question: Due to a specific kind of structure, what kind of problems are made worse?, context: Due to the tree structure of the filter bank, pre-echo problems are made worse, as the combined impulse response of the two filter banks does not, and cannot, provide an optimum solution in time/frequency resolution. Additionally, the combining of the two filter banks' outputs creates aliasing problems that must be handled partially by the "aliasing compensation" stage; however, that creates excess energy to be coded in the frequency domain, thereby decreasing coding efficiency.[citation needed]


Question: What kind of resolution are the filter banks unable to provide an optimal solution for?

Answer: time/frequency

<hl> Due to the tree structure of the filter bank, pre-echo problems are made worse, as the combined impulse response of the two filter banks does not, and cannot, provide an optimum solution in time/frequency resolution. <hl> Additionally, the combining of the two filter banks' outputs creates aliasing problems that must be handled partially by the "aliasing compensation" stage; however, that creates excess energy to be coded in the frequency domain, thereby decreasing coding efficiency.[citation needed]

Due to the tree structure of the filter bank, pre-echo problems are made worse, as the combined impulse response of the two filter banks does not, and cannot, provide an optimum solution in <hl> time/frequency <hl> resolution. Additionally, the combining of the two filter banks' outputs creates aliasing problems that must be handled partially by the "aliasing compensation" stage; however, that creates excess energy to be coded in the frequency domain, thereby decreasing coding efficiency.[citation needed]

question: What kind of resolution are the filter banks unable to provide an optimal solution for?, context: Due to the tree structure of the filter bank, pre-echo problems are made worse, as the combined impulse response of the two filter banks does not, and cannot, provide an optimum solution in time/frequency resolution. Additionally, the combining of the two filter banks' outputs creates aliasing problems that must be handled partially by the "aliasing compensation" stage; however, that creates excess energy to be coded in the frequency domain, thereby decreasing coding efficiency.[citation needed]


Question: Combining two filter banks' outputs creates what kind of problem?

Answer: aliasing

Due to the tree structure of the filter bank, pre-echo problems are made worse, as the combined impulse response of the two filter banks does not, and cannot, provide an optimum solution in time/frequency resolution. <hl> Additionally, the combining of the two filter banks' outputs creates aliasing problems that must be handled partially by the "aliasing compensation" stage; however, that creates excess energy to be coded in the frequency domain, thereby decreasing coding efficiency.[citation needed] <hl>

Due to the tree structure of the filter bank, pre-echo problems are made worse, as the combined impulse response of the two filter banks does not, and cannot, provide an optimum solution in time/frequency resolution. Additionally, the combining of the two filter banks' outputs creates <hl> aliasing <hl> problems that must be handled partially by the "aliasing compensation" stage; however, that creates excess energy to be coded in the frequency domain, thereby decreasing coding efficiency.[citation needed]

question: Combining two filter banks' outputs creates what kind of problem?, context: Due to the tree structure of the filter bank, pre-echo problems are made worse, as the combined impulse response of the two filter banks does not, and cannot, provide an optimum solution in time/frequency resolution. Additionally, the combining of the two filter banks' outputs creates aliasing problems that must be handled partially by the "aliasing compensation" stage; however, that creates excess energy to be coded in the frequency domain, thereby decreasing coding efficiency.[citation needed]


Question: The need to code excess energy in the frequency domain decreases what kind of efficiency?

Answer: coding

Due to the tree structure of the filter bank, pre-echo problems are made worse, as the combined impulse response of the two filter banks does not, and cannot, provide an optimum solution in time/frequency resolution. <hl> Additionally, the combining of the two filter banks' outputs creates aliasing problems that must be handled partially by the "aliasing compensation" stage; however, that creates excess energy to be coded in the frequency domain, thereby decreasing coding efficiency.[citation needed] <hl>

Due to the tree structure of the filter bank, pre-echo problems are made worse, as the combined impulse response of the two filter banks does not, and cannot, provide an optimum solution in time/frequency resolution. Additionally, the combining of the two filter banks' outputs creates aliasing problems that must be handled partially by the "aliasing compensation" stage; however, that creates excess energy to be coded in the frequency domain, thereby decreasing <hl> coding <hl> efficiency.[citation needed]

question: The need to code excess energy in the frequency domain decreases what kind of efficiency?, context: Due to the tree structure of the filter bank, pre-echo problems are made worse, as the combined impulse response of the two filter banks does not, and cannot, provide an optimum solution in time/frequency resolution. Additionally, the combining of the two filter banks' outputs creates aliasing problems that must be handled partially by the "aliasing compensation" stage; however, that creates excess energy to be coded in the frequency domain, thereby decreasing coding efficiency.[citation needed]


Question: What is carefully defined in the standard?

Answer: Decoding

<hl> Decoding , on the other hand, is carefully defined in the standard. <hl> Most decoders are "bitstream compliant", which means that the decompressed output that they produce from a given MP3 file will be the same, within a specified degree of rounding tolerance, as the output specified mathematically in the ISO/IEC high standard document (ISO/IEC 11172-3). Therefore, comparison of decoders is usually based on how computationally efficient they are (i.e., how much memory or CPU time they use in the decoding process).

<hl> Decoding <hl>, on the other hand, is carefully defined in the standard. Most decoders are "bitstream compliant", which means that the decompressed output that they produce from a given MP3 file will be the same, within a specified degree of rounding tolerance, as the output specified mathematically in the ISO/IEC high standard document (ISO/IEC 11172-3). Therefore, comparison of decoders is usually based on how computationally efficient they are (i.e., how much memory or CPU time they use in the decoding process).

<hl> Decoding <hl> , on the other hand, is carefully defined in the standard.

question: What is carefully defined in the standard?, context: Decoding, on the other hand, is carefully defined in the standard. Most decoders are "bitstream compliant", which means that the decompressed output that they produce from a given MP3 file will be the same, within a specified degree of rounding tolerance, as the output specified mathematically in the ISO/IEC high standard document (ISO/IEC 11172-3). Therefore, comparison of decoders is usually based on how computationally efficient they are (i.e., how much memory or CPU time they use in the decoding process).


Question: What are most decoders?

Answer: bitstream compliant

Decoding, on the other hand, is carefully defined in the standard. <hl> Most decoders are " bitstream compliant ", which means that the decompressed output that they produce from a given MP3 file will be the same, within a specified degree of rounding tolerance, as the output specified mathematically in the ISO/IEC high standard document (ISO/IEC 11172-3). <hl> Therefore, comparison of decoders is usually based on how computationally efficient they are (i.e., how much memory or CPU time they use in the decoding process).

Decoding, on the other hand, is carefully defined in the standard. Most decoders are "<hl> bitstream compliant <hl>", which means that the decompressed output that they produce from a given MP3 file will be the same, within a specified degree of rounding tolerance, as the output specified mathematically in the ISO/IEC high standard document (ISO/IEC 11172-3). Therefore, comparison of decoders is usually based on how computationally efficient they are (i.e., how much memory or CPU time they use in the decoding process).

Most decoders are " <hl> bitstream compliant <hl> ", which means that the decompressed output that they produce from a given MP3 file will be the same, within a specified degree of rounding tolerance, as the output specified mathematically in the ISO/IEC high standard document (ISO/IEC 11172-3).

question: What are most decoders?, context: Decoding, on the other hand, is carefully defined in the standard. Most decoders are "bitstream compliant", which means that the decompressed output that they produce from a given MP3 file will be the same, within a specified degree of rounding tolerance, as the output specified mathematically in the ISO/IEC high standard document (ISO/IEC 11172-3). Therefore, comparison of decoders is usually based on how computationally efficient they are (i.e., how much memory or CPU time they use in the decoding process).


Question: The ISO/IEC high standard document states that the decompressed output produced from a given MP3 file will be the same within what standards?

Answer: specified degree of rounding tolerance

Decoding, on the other hand, is carefully defined in the standard. <hl> Most decoders are "bitstream compliant", which means that the decompressed output that they produce from a given MP3 file will be the same, within a specified degree of rounding tolerance , as the output specified mathematically in the ISO/IEC high standard document (ISO/IEC 11172-3). <hl> Therefore, comparison of decoders is usually based on how computationally efficient they are (i.e., how much memory or CPU time they use in the decoding process).

Decoding, on the other hand, is carefully defined in the standard. Most decoders are "bitstream compliant", which means that the decompressed output that they produce from a given MP3 file will be the same, within a <hl> specified degree of rounding tolerance <hl>, as the output specified mathematically in the ISO/IEC high standard document (ISO/IEC 11172-3). Therefore, comparison of decoders is usually based on how computationally efficient they are (i.e., how much memory or CPU time they use in the decoding process).

Most decoders are "bitstream compliant", which means that the decompressed output that they produce from a given MP3 file will be the same, within a <hl> specified degree of rounding tolerance <hl> , as the output specified mathematically in the ISO/IEC high standard document (ISO/IEC 11172-3).

question: The ISO/IEC high standard document states that the decompressed output produced from a given MP3 file will be the same within what standards?, context: Decoding, on the other hand, is carefully defined in the standard. Most decoders are "bitstream compliant", which means that the decompressed output that they produce from a given MP3 file will be the same, within a specified degree of rounding tolerance, as the output specified mathematically in the ISO/IEC high standard document (ISO/IEC 11172-3). Therefore, comparison of decoders is usually based on how computationally efficient they are (i.e., how much memory or CPU time they use in the decoding process).


Question: Decoders are usually compared by examining which factor?

Answer: computationally efficient

Decoding, on the other hand, is carefully defined in the standard. Most decoders are "bitstream compliant", which means that the decompressed output that they produce from a given MP3 file will be the same, within a specified degree of rounding tolerance, as the output specified mathematically in the ISO/IEC high standard document (ISO/IEC 11172-3). <hl> Therefore, comparison of decoders is usually based on how computationally efficient they are (i.e., how much memory or CPU time they use in the decoding process). <hl>

Decoding, on the other hand, is carefully defined in the standard. Most decoders are "bitstream compliant", which means that the decompressed output that they produce from a given MP3 file will be the same, within a specified degree of rounding tolerance, as the output specified mathematically in the ISO/IEC high standard document (ISO/IEC 11172-3). Therefore, comparison of decoders is usually based on how <hl> computationally efficient <hl> they are (i.e., how much memory or CPU time they use in the decoding process).

question: Decoders are usually compared by examining which factor?, context: Decoding, on the other hand, is carefully defined in the standard. Most decoders are "bitstream compliant", which means that the decompressed output that they produce from a given MP3 file will be the same, within a specified degree of rounding tolerance, as the output specified mathematically in the ISO/IEC high standard document (ISO/IEC 11172-3). Therefore, comparison of decoders is usually based on how computationally efficient they are (i.e., how much memory or CPU time they use in the decoding process).


Question: The efficiency of decoders is examined by seeing how much memory and what other process they use in the decoding process?

Answer: CPU time

Decoding, on the other hand, is carefully defined in the standard. Most decoders are "bitstream compliant", which means that the decompressed output that they produce from a given MP3 file will be the same, within a specified degree of rounding tolerance, as the output specified mathematically in the ISO/IEC high standard document (ISO/IEC 11172-3). <hl> Therefore, comparison of decoders is usually based on how computationally efficient they are (i.e., how much memory or CPU time they use in the decoding process). <hl>

Decoding, on the other hand, is carefully defined in the standard. Most decoders are "bitstream compliant", which means that the decompressed output that they produce from a given MP3 file will be the same, within a specified degree of rounding tolerance, as the output specified mathematically in the ISO/IEC high standard document (ISO/IEC 11172-3). Therefore, comparison of decoders is usually based on how computationally efficient they are (i.e., how much memory or <hl> CPU time <hl> they use in the decoding process).

question: The efficiency of decoders is examined by seeing how much memory and what other process they use in the decoding process?, context: Decoding, on the other hand, is carefully defined in the standard. Most decoders are "bitstream compliant", which means that the decompressed output that they produce from a given MP3 file will be the same, within a specified degree of rounding tolerance, as the output specified mathematically in the ISO/IEC high standard document (ISO/IEC 11172-3). Therefore, comparison of decoders is usually based on how computationally efficient they are (i.e., how much memory or CPU time they use in the decoding process).


Question: What is there no official provision for?

Answer: gapless playback

<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 overall delay is not defined, which means there is no official provision for <hl> 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 overall delay is not defined, which means there is no official provision for <hl> gapless playback <hl> .

question: What is there no official provision for?, 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: What is an example of an encoder that can attach additional metadeta?

Answer: LAME

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 <hl> LAME <hl> can attach additional metadata that will allow players that can handle it to deliver seamless playback.

question: What is an example of an encoder that can attach additional metadeta?, 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.