Question: When does the last patent held by Sisvel expire?

Answer: 9. April 2017

Sisvel S.p.A. and its U.S. subsidiary Audio MPEG, Inc. previously sued Thomson for patent infringement on MP3 technology, but those disputes were resolved in November 2005 with Sisvel granting Thomson a license to their patents. Motorola followed soon after, and signed with Sisvel to license MP3-related patents in December 2005. <hl> Except for three patents, the US patents administered by Sisvel had all expired in 2015, however (the exceptions are: U.S. Patent 5,878,080, expires February 2017, U.S. Patent 5,850,456, expires February 2017 and U.S. Patent 5,960,037, expires 9. April 2017 . <hl>

Sisvel S.p.A. and its U.S. subsidiary Audio MPEG, Inc. previously sued Thomson for patent infringement on MP3 technology, but those disputes were resolved in November 2005 with Sisvel granting Thomson a license to their patents. Motorola followed soon after, and signed with Sisvel to license MP3-related patents in December 2005. Except for three patents, the US patents administered by Sisvel had all expired in 2015, however (the exceptions are: U.S. Patent 5,878,080, expires February 2017, U.S. Patent 5,850,456, expires February 2017 and U.S. Patent 5,960,037, expires <hl> 9. April 2017 <hl>.

Except for three patents, the US patents administered by Sisvel had all expired in 2015, however (the exceptions are: U.S. Patent 5,878,080, expires February 2017, U.S. Patent 5,850,456, expires February 2017 and U.S. Patent 5,960,037, expires <hl> 9. April 2017 <hl> .

question: When does the last patent held by Sisvel expire?, context: Sisvel S.p.A. and its U.S. subsidiary Audio MPEG, Inc. previously sued Thomson for patent infringement on MP3 technology, but those disputes were resolved in November 2005 with Sisvel granting Thomson a license to their patents. Motorola followed soon after, and signed with Sisvel to license MP3-related patents in December 2005. Except for three patents, the US patents administered by Sisvel had all expired in 2015, however (the exceptions are: U.S. Patent 5,878,080, expires February 2017, U.S. Patent 5,850,456, expires February 2017 and U.S. Patent 5,960,037, expires 9. April 2017.


Question: What did German officials seize from SanDisk on September 2006?

Answer: MP3 players

<hl> In September 2006, German officials seized MP3 players from SanDisk's booth at the IFA show in Berlin after an Italian patents firm won an injunction on behalf of Sisvel against SanDisk in a dispute over licensing rights. <hl> The injunction was later reversed by a Berlin judge, but that reversal was in turn blocked the same day by another judge from the same court, "bringing the Patent Wild West to Germany" in the words of one commentator.

In September 2006, German officials seized <hl> MP3 players <hl> from SanDisk's booth at the IFA show in Berlin after an Italian patents firm won an injunction on behalf of Sisvel against SanDisk in a dispute over licensing rights. The injunction was later reversed by a Berlin judge, but that reversal was in turn blocked the same day by another judge from the same court, "bringing the Patent Wild West to Germany" in the words of one commentator.

question: What did German officials seize from SanDisk on September 2006?, context: In September 2006, German officials seized MP3 players from SanDisk's booth at the IFA show in Berlin after an Italian patents firm won an injunction on behalf of Sisvel against SanDisk in a dispute over licensing rights. The injunction was later reversed by a Berlin judge, but that reversal was in turn blocked the same day by another judge from the same court, "bringing the Patent Wild West to Germany" in the words of one commentator.


Question: At which show did SanDisk have their assets seized?

Answer: IFA

<hl> In September 2006, German officials seized MP3 players from SanDisk's booth at the IFA show in Berlin after an Italian patents firm won an injunction on behalf of Sisvel against SanDisk in a dispute over licensing rights. <hl> The injunction was later reversed by a Berlin judge, but that reversal was in turn blocked the same day by another judge from the same court, "bringing the Patent Wild West to Germany" in the words of one commentator.

In September 2006, German officials seized MP3 players from SanDisk's booth at the <hl> IFA <hl> show in Berlin after an Italian patents firm won an injunction on behalf of Sisvel against SanDisk in a dispute over licensing rights. The injunction was later reversed by a Berlin judge, but that reversal was in turn blocked the same day by another judge from the same court, "bringing the Patent Wild West to Germany" in the words of one commentator.

question: At which show did SanDisk have their assets seized?, context: In September 2006, German officials seized MP3 players from SanDisk's booth at the IFA show in Berlin after an Italian patents firm won an injunction on behalf of Sisvel against SanDisk in a dispute over licensing rights. The injunction was later reversed by a Berlin judge, but that reversal was in turn blocked the same day by another judge from the same court, "bringing the Patent Wild West to Germany" in the words of one commentator.


Question: Which company was the Italian patents firm representing?

Answer: Sisvel

<hl> In September 2006, German officials seized MP3 players from SanDisk's booth at the IFA show in Berlin after an Italian patents firm won an injunction on behalf of Sisvel against SanDisk in a dispute over licensing rights. <hl> The injunction was later reversed by a Berlin judge, but that reversal was in turn blocked the same day by another judge from the same court, "bringing the Patent Wild West to Germany" in the words of one commentator.

In September 2006, German officials seized MP3 players from SanDisk's booth at the IFA show in Berlin after an Italian patents firm won an injunction on behalf of <hl> Sisvel <hl> against SanDisk in a dispute over licensing rights. The injunction was later reversed by a Berlin judge, but that reversal was in turn blocked the same day by another judge from the same court, "bringing the Patent Wild West to Germany" in the words of one commentator.

question: Which company was the Italian patents firm representing?, context: In September 2006, German officials seized MP3 players from SanDisk's booth at the IFA show in Berlin after an Italian patents firm won an injunction on behalf of Sisvel against SanDisk in a dispute over licensing rights. The injunction was later reversed by a Berlin judge, but that reversal was in turn blocked the same day by another judge from the same court, "bringing the Patent Wild West to Germany" in the words of one commentator.


Question: What happened after the injunction was successful?

Answer: The injunction was later reversed

In September 2006, German officials seized MP3 players from SanDisk's booth at the IFA show in Berlin after an Italian patents firm won an injunction on behalf of Sisvel against SanDisk in a dispute over licensing rights. <hl> The injunction was later reversed by a Berlin judge, but that reversal was in turn blocked the same day by another judge from the same court, "bringing the Patent Wild West to Germany" in the words of one commentator. <hl>

In September 2006, German officials seized MP3 players from SanDisk's booth at the IFA show in Berlin after an Italian patents firm won an injunction on behalf of Sisvel against SanDisk in a dispute over licensing rights. <hl> The injunction was later reversed <hl> by a Berlin judge, but that reversal was in turn blocked the same day by another judge from the same court, "bringing the Patent Wild West to Germany" in the words of one commentator.

question: What happened after the injunction was successful?, context: In September 2006, German officials seized MP3 players from SanDisk's booth at the IFA show in Berlin after an Italian patents firm won an injunction on behalf of Sisvel against SanDisk in a dispute over licensing rights. The injunction was later reversed by a Berlin judge, but that reversal was in turn blocked the same day by another judge from the same court, "bringing the Patent Wild West to Germany" in the words of one commentator.


Question: The continuous back and forth regarding the decisions on patents was referred to as what?

Answer: bringing the Patent Wild West to Germany

In September 2006, German officials seized MP3 players from SanDisk's booth at the IFA show in Berlin after an Italian patents firm won an injunction on behalf of Sisvel against SanDisk in a dispute over licensing rights. <hl> The injunction was later reversed by a Berlin judge, but that reversal was in turn blocked the same day by another judge from the same court, " bringing the Patent Wild West to Germany " in the words of one commentator. <hl>

In September 2006, German officials seized MP3 players from SanDisk's booth at the IFA show in Berlin after an Italian patents firm won an injunction on behalf of Sisvel against SanDisk in a dispute over licensing rights. The injunction was later reversed by a Berlin judge, but that reversal was in turn blocked the same day by another judge from the same court, "<hl> bringing the Patent Wild West to Germany <hl>" in the words of one commentator.

The injunction was later reversed by a Berlin judge, but that reversal was in turn blocked the same day by another judge from the same court, " <hl> bringing the Patent Wild West to Germany <hl> " in the words of one commentator.

question: The continuous back and forth regarding the decisions on patents was referred to as what?, context: In September 2006, German officials seized MP3 players from SanDisk's booth at the IFA show in Berlin after an Italian patents firm won an injunction on behalf of Sisvel against SanDisk in a dispute over licensing rights. The injunction was later reversed by a Berlin judge, but that reversal was in turn blocked the same day by another judge from the same court, "bringing the Patent Wild West to Germany" in the words of one commentator.


Question: Who sued Apple, Samsung Electronics and Sandisk in 2007?

Answer: Texas MP3 Technologies

<hl> In February 2007, Texas MP3 Technologies sued Apple, Samsung Electronics and Sandisk in eastern Texas federal court, claiming infringement of a portable MP3 player patent that Texas MP3 said it had been assigned. <hl> Apple, Samsung, and Sandisk all settled the claims against them in January 2009.

In February 2007, <hl> Texas MP3 Technologies <hl> sued Apple, Samsung Electronics and Sandisk in eastern Texas federal court, claiming infringement of a portable MP3 player patent that Texas MP3 said it had been assigned. Apple, Samsung, and Sandisk all settled the claims against them in January 2009.

question: Who sued Apple, Samsung Electronics and Sandisk in 2007?, context: In February 2007, Texas MP3 Technologies sued Apple, Samsung Electronics and Sandisk in eastern Texas federal court, claiming infringement of a portable MP3 player patent that Texas MP3 said it had been assigned. Apple, Samsung, and Sandisk all settled the claims against them in January 2009.


Question: Which court did the lawsuit take place in?

Answer: eastern Texas federal court

<hl> In February 2007, Texas MP3 Technologies sued Apple, Samsung Electronics and Sandisk in eastern Texas federal court , claiming infringement of a portable MP3 player patent that Texas MP3 said it had been assigned. <hl> Apple, Samsung, and Sandisk all settled the claims against them in January 2009.

In February 2007, Texas MP3 Technologies sued Apple, Samsung Electronics and Sandisk in <hl> eastern Texas federal court <hl>, claiming infringement of a portable MP3 player patent that Texas MP3 said it had been assigned. Apple, Samsung, and Sandisk all settled the claims against them in January 2009.

In February 2007, Texas MP3 Technologies sued Apple, Samsung Electronics and Sandisk in <hl> eastern Texas federal court <hl> , claiming infringement of a portable MP3 player patent that Texas MP3 said it had been assigned.

question: Which court did the lawsuit take place in?, context: In February 2007, Texas MP3 Technologies sued Apple, Samsung Electronics and Sandisk in eastern Texas federal court, claiming infringement of a portable MP3 player patent that Texas MP3 said it had been assigned. Apple, Samsung, and Sandisk all settled the claims against them in January 2009.


Question: What action did the three companies being sued take?

Answer: all settled the claims against them

In February 2007, Texas MP3 Technologies sued Apple, Samsung Electronics and Sandisk in eastern Texas federal court, claiming infringement of a portable MP3 player patent that Texas MP3 said it had been assigned. <hl> Apple, Samsung, and Sandisk all settled the claims against them in January 2009. <hl>

In February 2007, Texas MP3 Technologies sued Apple, Samsung Electronics and Sandisk in eastern Texas federal court, claiming infringement of a portable MP3 player patent that Texas MP3 said it had been assigned. Apple, Samsung, and Sandisk <hl> all settled the claims against them <hl> in January 2009.

question: What action did the three companies being sued take?, context: In February 2007, Texas MP3 Technologies sued Apple, Samsung Electronics and Sandisk in eastern Texas federal court, claiming infringement of a portable MP3 player patent that Texas MP3 said it had been assigned. Apple, Samsung, and Sandisk all settled the claims against them in January 2009.


Question: What year did the lawsuits end?

Answer: 2009

In February 2007, Texas MP3 Technologies sued Apple, Samsung Electronics and Sandisk in eastern Texas federal court, claiming infringement of a portable MP3 player patent that Texas MP3 said it had been assigned. <hl> Apple, Samsung, and Sandisk all settled the claims against them in January 2009 . <hl>

In February 2007, Texas MP3 Technologies sued Apple, Samsung Electronics and Sandisk in eastern Texas federal court, claiming infringement of a portable MP3 player patent that Texas MP3 said it had been assigned. Apple, Samsung, and Sandisk all settled the claims against them in January <hl> 2009 <hl>.

Apple, Samsung, and Sandisk all settled the claims against them in January <hl> 2009 <hl> .

question: What year did the lawsuits end?, context: In February 2007, Texas MP3 Technologies sued Apple, Samsung Electronics and Sandisk in eastern Texas federal court, claiming infringement of a portable MP3 player patent that Texas MP3 said it had been assigned. Apple, Samsung, and Sandisk all settled the claims against them in January 2009.


Question: What was the claim that the lawsuit was based on?

Answer: infringement of a portable MP3 player patent

<hl> In February 2007, Texas MP3 Technologies sued Apple, Samsung Electronics and Sandisk in eastern Texas federal court, claiming infringement of a portable MP3 player patent that Texas MP3 said it had been assigned. <hl> Apple, Samsung, and Sandisk all settled the claims against them in January 2009.

In February 2007, Texas MP3 Technologies sued Apple, Samsung Electronics and Sandisk in eastern Texas federal court, claiming <hl> infringement of a portable MP3 player patent <hl> that Texas MP3 said it had been assigned. Apple, Samsung, and Sandisk all settled the claims against them in January 2009.

question: What was the claim that the lawsuit was based on?, context: In February 2007, Texas MP3 Technologies sued Apple, Samsung Electronics and Sandisk in eastern Texas federal court, claiming infringement of a portable MP3 player patent that Texas MP3 said it had been assigned. Apple, Samsung, and Sandisk all settled the claims against them in January 2009.


Question: Which company allegedly inherited MP3 patents from AT&T-Bell LAbs?

Answer: Alcatel-Lucent

<hl> Alcatel-Lucent has asserted several MP3 coding and compression patents, allegedly inherited from AT&T-Bell Labs, in litigation of its own. <hl> In November 2006, before the companies' merger, Alcatel sued Microsoft for allegedly infringing seven patents. On 23 February 2007, a San Diego jury awarded Alcatel-Lucent US $1.52 billion in damages for infringement of two of them. The court subsequently tossed the award, however, finding that one patent had not been infringed and that the other was not even owned by Alcatel-Lucent; it was co-owned by AT&T and Fraunhofer, who had licensed it to Microsoft, the judge ruled. That defense judgment was upheld on appeal in 2008. See Alcatel-Lucent v. Microsoft for more information.

<hl> Alcatel-Lucent <hl> has asserted several MP3 coding and compression patents, allegedly inherited from AT&T-Bell Labs, in litigation of its own. In November 2006, before the companies' merger, Alcatel sued Microsoft for allegedly infringing seven patents. On 23 February 2007, a San Diego jury awarded Alcatel-Lucent US $1.52 billion in damages for infringement of two of them. The court subsequently tossed the award, however, finding that one patent had not been infringed and that the other was not even owned by Alcatel-Lucent; it was co-owned by AT&T and Fraunhofer, who had licensed it to Microsoft, the judge ruled. That defense judgment was upheld on appeal in 2008. See Alcatel-Lucent v. Microsoft for more information.

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


Question: What kind of patents were allegedly inherited?

Answer: MP3 coding and compression

<hl> Alcatel-Lucent has asserted several MP3 coding and compression patents, allegedly inherited from AT&T-Bell Labs, in litigation of its own. <hl> In November 2006, before the companies' merger, Alcatel sued Microsoft for allegedly infringing seven patents. On 23 February 2007, a San Diego jury awarded Alcatel-Lucent US $1.52 billion in damages for infringement of two of them. The court subsequently tossed the award, however, finding that one patent had not been infringed and that the other was not even owned by Alcatel-Lucent; it was co-owned by AT&T and Fraunhofer, who had licensed it to Microsoft, the judge ruled. That defense judgment was upheld on appeal in 2008. See Alcatel-Lucent v. Microsoft for more information.

Alcatel-Lucent has asserted several <hl> MP3 coding and compression <hl> patents, allegedly inherited from AT&T-Bell Labs, in litigation of its own. In November 2006, before the companies' merger, Alcatel sued Microsoft for allegedly infringing seven patents. On 23 February 2007, a San Diego jury awarded Alcatel-Lucent US $1.52 billion in damages for infringement of two of them. The court subsequently tossed the award, however, finding that one patent had not been infringed and that the other was not even owned by Alcatel-Lucent; it was co-owned by AT&T and Fraunhofer, who had licensed it to Microsoft, the judge ruled. That defense judgment was upheld on appeal in 2008. See Alcatel-Lucent v. Microsoft for more information.

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


Question: How many patents did Alcatel claim Microsoft infringed on?

Answer: seven

Alcatel-Lucent has asserted several MP3 coding and compression patents, allegedly inherited from AT&T-Bell Labs, in litigation of its own. <hl> In November 2006, before the companies' merger, Alcatel sued Microsoft for allegedly infringing seven patents. <hl> On 23 February 2007, a San Diego jury awarded Alcatel-Lucent US $1.52 billion in damages for infringement of two of them. The court subsequently tossed the award, however, finding that one patent had not been infringed and that the other was not even owned by Alcatel-Lucent; it was co-owned by AT&T and Fraunhofer, who had licensed it to Microsoft, the judge ruled. That defense judgment was upheld on appeal in 2008. See Alcatel-Lucent v. Microsoft for more information.

Alcatel-Lucent has asserted several MP3 coding and compression patents, allegedly inherited from AT&T-Bell Labs, in litigation of its own. In November 2006, before the companies' merger, Alcatel sued Microsoft for allegedly infringing <hl> seven <hl> patents. On 23 February 2007, a San Diego jury awarded Alcatel-Lucent US $1.52 billion in damages for infringement of two of them. The court subsequently tossed the award, however, finding that one patent had not been infringed and that the other was not even owned by Alcatel-Lucent; it was co-owned by AT&T and Fraunhofer, who had licensed it to Microsoft, the judge ruled. That defense judgment was upheld on appeal in 2008. See Alcatel-Lucent v. Microsoft for more information.

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


Question: What subsequently happened after Alcatel was awarded damages?

Answer: The court subsequently tossed the award

Alcatel-Lucent has asserted several MP3 coding and compression patents, allegedly inherited from AT&T-Bell Labs, in litigation of its own. In November 2006, before the companies' merger, Alcatel sued Microsoft for allegedly infringing seven patents. On 23 February 2007, a San Diego jury awarded Alcatel-Lucent US $1.52 billion in damages for infringement of two of them. <hl> The court subsequently tossed the award , however, finding that one patent had not been infringed and that the other was not even owned by Alcatel-Lucent; it was co-owned by AT&T and Fraunhofer, who had licensed it to Microsoft, the judge ruled. <hl> That defense judgment was upheld on appeal in 2008. See Alcatel-Lucent v. Microsoft for more information.

Alcatel-Lucent has asserted several MP3 coding and compression patents, allegedly inherited from AT&T-Bell Labs, in litigation of its own. In November 2006, before the companies' merger, Alcatel sued Microsoft for allegedly infringing seven patents. On 23 February 2007, a San Diego jury awarded Alcatel-Lucent US $1.52 billion in damages for infringement of two of them. <hl> The court subsequently tossed the award <hl>, however, finding that one patent had not been infringed and that the other was not even owned by Alcatel-Lucent; it was co-owned by AT&T and Fraunhofer, who had licensed it to Microsoft, the judge ruled. That defense judgment was upheld on appeal in 2008. See Alcatel-Lucent v. Microsoft for more information.

<hl> The court subsequently tossed the award <hl> , however, finding that one patent had not been infringed and that the other was not even owned by Alcatel-Lucent; it was co-owned by AT&T and Fraunhofer, who had licensed it to Microsoft, the judge ruled.

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


Question: How much money was awarded to Alcatel by a San Diego jury?

Answer: US $1.52 billion

Alcatel-Lucent has asserted several MP3 coding and compression patents, allegedly inherited from AT&T-Bell Labs, in litigation of its own. In November 2006, before the companies' merger, Alcatel sued Microsoft for allegedly infringing seven patents. <hl> On 23 February 2007, a San Diego jury awarded Alcatel-Lucent US $1.52 billion in damages for infringement of two of them. <hl> The court subsequently tossed the award, however, finding that one patent had not been infringed and that the other was not even owned by Alcatel-Lucent; it was co-owned by AT&T and Fraunhofer, who had licensed it to Microsoft, the judge ruled. That defense judgment was upheld on appeal in 2008. See Alcatel-Lucent v. Microsoft for more information.

Alcatel-Lucent has asserted several MP3 coding and compression patents, allegedly inherited from AT&T-Bell Labs, in litigation of its own. In November 2006, before the companies' merger, Alcatel sued Microsoft for allegedly infringing seven patents. On 23 February 2007, a San Diego jury awarded Alcatel-Lucent <hl> US $1.52 billion <hl> in damages for infringement of two of them. The court subsequently tossed the award, however, finding that one patent had not been infringed and that the other was not even owned by Alcatel-Lucent; it was co-owned by AT&T and Fraunhofer, who had licensed it to Microsoft, the judge ruled. That defense judgment was upheld on appeal in 2008. See Alcatel-Lucent v. Microsoft for more information.

question: How much money was awarded to Alcatel by a San Diego jury?, context: Alcatel-Lucent has asserted several MP3 coding and compression patents, allegedly inherited from AT&T-Bell Labs, in litigation of its own. In November 2006, before the companies' merger, Alcatel sued Microsoft for allegedly infringing seven patents. On 23 February 2007, a San Diego jury awarded Alcatel-Lucent US $1.52 billion in damages for infringement of two of them. The court subsequently tossed the award, however, finding that one patent had not been infringed and that the other was not even owned by Alcatel-Lucent; it was co-owned by AT&T and Fraunhofer, who had licensed it to Microsoft, the judge ruled. That defense judgment was upheld on appeal in 2008. See Alcatel-Lucent v. Microsoft for more information.


Question: AAC, mp3PRO and MP2 are all members of the same technological family as which other lossy format?

Answer: MP3

Other lossy formats exist. <hl> Among these, mp3PRO, AAC, and MP2 are all members of the same technological family as MP3 and depend on roughly similar psychoacoustic models. <hl> The Fraunhofer Gesellschaft owns many of the basic patents underlying these formats as well, with others held by Dolby Labs, Sony, Thomson Consumer Electronics, and AT&T.

Other lossy formats exist. Among these, mp3PRO, AAC, and MP2 are all members of the same technological family as <hl> MP3 <hl> and depend on roughly similar psychoacoustic models. The Fraunhofer Gesellschaft owns many of the basic patents underlying these formats as well, with others held by Dolby Labs, Sony, Thomson Consumer Electronics, and AT&T.

question: AAC, mp3PRO and MP2 are all members of the same technological family as which other lossy format?, context: Other lossy formats exist. Among these, mp3PRO, AAC, and MP2 are all members of the same technological family as MP3 and depend on roughly similar psychoacoustic models. The Fraunhofer Gesellschaft owns many of the basic patents underlying these formats as well, with others held by Dolby Labs, Sony, Thomson Consumer Electronics, and AT&T.


Question: What model type do all of the lossy formats roughly depend on?

Answer: psychoacoustic

Other lossy formats exist. <hl> Among these, mp3PRO, AAC, and MP2 are all members of the same technological family as MP3 and depend on roughly similar psychoacoustic models. <hl> The Fraunhofer Gesellschaft owns many of the basic patents underlying these formats as well, with others held by Dolby Labs, Sony, Thomson Consumer Electronics, and AT&T.

Other lossy formats exist. Among these, mp3PRO, AAC, and MP2 are all members of the same technological family as MP3 and depend on roughly similar <hl> psychoacoustic <hl> models. The Fraunhofer Gesellschaft owns many of the basic patents underlying these formats as well, with others held by Dolby Labs, Sony, Thomson Consumer Electronics, and AT&T.

question: What model type do all of the lossy formats roughly depend on?, context: Other lossy formats exist. Among these, mp3PRO, AAC, and MP2 are all members of the same technological family as MP3 and depend on roughly similar psychoacoustic models. The Fraunhofer Gesellschaft owns many of the basic patents underlying these formats as well, with others held by Dolby Labs, Sony, Thomson Consumer Electronics, and AT&T.


Question: Which company owns many of the patents that cover the other formats?

Answer: Fraunhofer Gesellschaft

Other lossy formats exist. Among these, mp3PRO, AAC, and MP2 are all members of the same technological family as MP3 and depend on roughly similar psychoacoustic models. <hl> The Fraunhofer Gesellschaft owns many of the basic patents underlying these formats as well, with others held by Dolby Labs, Sony, Thomson Consumer Electronics, and AT&T. <hl>

Other lossy formats exist. Among these, mp3PRO, AAC, and MP2 are all members of the same technological family as MP3 and depend on roughly similar psychoacoustic models. The <hl> Fraunhofer Gesellschaft <hl> owns many of the basic patents underlying these formats as well, with others held by Dolby Labs, Sony, Thomson Consumer Electronics, and AT&T.

question: Which company owns many of the patents that cover the other formats?, context: Other lossy formats exist. Among these, mp3PRO, AAC, and MP2 are all members of the same technological family as MP3 and depend on roughly similar psychoacoustic models. The Fraunhofer Gesellschaft owns many of the basic patents underlying these formats as well, with others held by Dolby Labs, Sony, Thomson Consumer Electronics, and AT&T.


Question: Opus and Vorbis are two explans of what kind of compression format?

Answer: open

<hl> There are also open compression formats like Opus and Vorbis that are available free of charge and without any known patent restrictions. <hl> Some of the newer audio compression formats, such as AAC, WMA Pro and Vorbis, are free of some limitations inherent to the MP3 format that cannot be overcome by any MP3 encoder.

There are also <hl> open <hl> compression formats like Opus and Vorbis that are available free of charge and without any known patent restrictions. Some of the newer audio compression formats, such as AAC, WMA Pro and Vorbis, are free of some limitations inherent to the MP3 format that cannot be overcome by any MP3 encoder.

question: Opus and Vorbis are two explans of what kind of compression format?, context: There are also open compression formats like Opus and Vorbis that are available free of charge and without any known patent restrictions. Some of the newer audio compression formats, such as AAC, WMA Pro and Vorbis, are free of some limitations inherent to the MP3 format that cannot be overcome by any MP3 encoder.


Question: Being open formats means that Opus and Vorbis can be used without what?

Answer: any known patent restrictions

<hl> There are also open compression formats like Opus and Vorbis that are available free of charge and without any known patent restrictions . <hl> Some of the newer audio compression formats, such as AAC, WMA Pro and Vorbis, are free of some limitations inherent to the MP3 format that cannot be overcome by any MP3 encoder.

There are also open compression formats like Opus and Vorbis that are available free of charge and without <hl> any known patent restrictions <hl>. Some of the newer audio compression formats, such as AAC, WMA Pro and Vorbis, are free of some limitations inherent to the MP3 format that cannot be overcome by any MP3 encoder.

There are also open compression formats like Opus and Vorbis that are available free of charge and without <hl> any known patent restrictions <hl> .

question: Being open formats means that Opus and Vorbis can be used without what?, context: There are also open compression formats like Opus and Vorbis that are available free of charge and without any known patent restrictions. Some of the newer audio compression formats, such as AAC, WMA Pro and Vorbis, are free of some limitations inherent to the MP3 format that cannot be overcome by any MP3 encoder.


Question: What are some benefits to some of the newer audio compression formats when compared to MP3?

Answer: free of some limitations inherent to the MP3 format

There are also open compression formats like Opus and Vorbis that are available free of charge and without any known patent restrictions. <hl> Some of the newer audio compression formats, such as AAC, WMA Pro and Vorbis, are free of some limitations inherent to the MP3 format that cannot be overcome by any MP3 encoder. <hl>

There are also open compression formats like Opus and Vorbis that are available free of charge and without any known patent restrictions. Some of the newer audio compression formats, such as AAC, WMA Pro and Vorbis, are <hl> free of some limitations inherent to the MP3 format <hl> that cannot be overcome by any MP3 encoder.

question: What are some benefits to some of the newer audio compression formats when compared to MP3?, context: There are also open compression formats like Opus and Vorbis that are available free of charge and without any known patent restrictions. Some of the newer audio compression formats, such as AAC, WMA Pro and Vorbis, are free of some limitations inherent to the MP3 format that cannot be overcome by any MP3 encoder.


Question: How can one obtain an open compression format such as Opus or Vorbis?

Answer: available free of charge

<hl> There are also open compression formats like Opus and Vorbis that are available free of charge and without any known patent restrictions. <hl> Some of the newer audio compression formats, such as AAC, WMA Pro and Vorbis, are free of some limitations inherent to the MP3 format that cannot be overcome by any MP3 encoder.

There are also open compression formats like Opus and Vorbis that are <hl> available free of charge <hl> and without any known patent restrictions. Some of the newer audio compression formats, such as AAC, WMA Pro and Vorbis, are free of some limitations inherent to the MP3 format that cannot be overcome by any MP3 encoder.

question: How can one obtain an open compression format such as Opus or Vorbis?, context: There are also open compression formats like Opus and Vorbis that are available free of charge and without any known patent restrictions. Some of the newer audio compression formats, such as AAC, WMA Pro and Vorbis, are free of some limitations inherent to the MP3 format that cannot be overcome by any MP3 encoder.


Question: What is a significant alternative to MP3?

Answer: lossless formats

<hl> Besides lossy compression methods, lossless formats are a significant alternative to MP3 because they provide unaltered audio content, though with an increased file size compared to lossy compression. <hl> Lossless formats include FLAC (Free Lossless Audio Codec), Apple Lossless and many others.

Besides lossy compression methods, <hl> lossless formats <hl> are a significant alternative to MP3 because they provide unaltered audio content, though with an increased file size compared to lossy compression. Lossless formats include FLAC (Free Lossless Audio Codec), Apple Lossless and many others.

question: What is a significant alternative to MP3?, context: Besides lossy compression methods, lossless formats are a significant alternative to MP3 because they provide unaltered audio content, though with an increased file size compared to lossy compression. Lossless formats include FLAC (Free Lossless Audio Codec), Apple Lossless and many others.


Question: What can lossless formats provide?

Answer: unaltered audio content

<hl> Besides lossy compression methods, lossless formats are a significant alternative to MP3 because they provide unaltered audio content , though with an increased file size compared to lossy compression. <hl> Lossless formats include FLAC (Free Lossless Audio Codec), Apple Lossless and many others.

Besides lossy compression methods, lossless formats are a significant alternative to MP3 because they provide <hl> unaltered audio content <hl>, though with an increased file size compared to lossy compression. Lossless formats include FLAC (Free Lossless Audio Codec), Apple Lossless and many others.

Besides lossy compression methods, lossless formats are a significant alternative to MP3 because they provide <hl> unaltered audio content <hl> , though with an increased file size compared to lossy compression.

question: What can lossless formats provide?, context: Besides lossy compression methods, lossless formats are a significant alternative to MP3 because they provide unaltered audio content, though with an increased file size compared to lossy compression. Lossless formats include FLAC (Free Lossless Audio Codec), Apple Lossless and many others.


Question: What is the downside of using a lossless format?

Answer: increased file size

<hl> Besides lossy compression methods, lossless formats are a significant alternative to MP3 because they provide unaltered audio content, though with an increased file size compared to lossy compression. <hl> Lossless formats include FLAC (Free Lossless Audio Codec), Apple Lossless and many others.

Besides lossy compression methods, lossless formats are a significant alternative to MP3 because they provide unaltered audio content, though with an <hl> increased file size <hl> compared to lossy compression. Lossless formats include FLAC (Free Lossless Audio Codec), Apple Lossless and many others.

question: What is the downside of using a lossless format?, context: Besides lossy compression methods, lossless formats are a significant alternative to MP3 because they provide unaltered audio content, though with an increased file size compared to lossy compression. Lossless formats include FLAC (Free Lossless Audio Codec), Apple Lossless and many others.


Question: What is another example of a lossless format other than Apple Lossless?

Answer: FLAC

Besides lossy compression methods, lossless formats are a significant alternative to MP3 because they provide unaltered audio content, though with an increased file size compared to lossy compression. <hl> Lossless formats include FLAC (Free Lossless Audio Codec), Apple Lossless and many others. <hl>

Besides lossy compression methods, lossless formats are a significant alternative to MP3 because they provide unaltered audio content, though with an increased file size compared to lossy compression. Lossless formats include <hl> FLAC <hl> (Free Lossless Audio Codec), Apple Lossless and many others.

question: What is another example of a lossless format other than Apple Lossless?, context: Besides lossy compression methods, lossless formats are a significant alternative to MP3 because they provide unaltered audio content, though with an increased file size compared to lossy compression. Lossless formats include FLAC (Free Lossless Audio Codec), Apple Lossless and many others.


Question: What does FLAC stand for?

Answer: Free Lossless Audio Codec

Besides lossy compression methods, lossless formats are a significant alternative to MP3 because they provide unaltered audio content, though with an increased file size compared to lossy compression. <hl> Lossless formats include FLAC ( Free Lossless Audio Codec ), Apple Lossless and many others. <hl>

Besides lossy compression methods, lossless formats are a significant alternative to MP3 because they provide unaltered audio content, though with an increased file size compared to lossy compression. Lossless formats include FLAC (<hl> Free Lossless Audio Codec <hl>), Apple Lossless and many others.

Lossless formats include FLAC ( <hl> Free Lossless Audio Codec <hl> ), Apple Lossless and many others.

question: What does FLAC stand for?, context: Besides lossy compression methods, lossless formats are a significant alternative to MP3 because they provide unaltered audio content, though with an increased file size compared to lossy compression. Lossless formats include FLAC (Free Lossless Audio Codec), Apple Lossless and many others.


Question: What city did House music originate from?

Answer: Chicago

<hl> House music is a genre of electronic dance music that originated in Chicago in the early 1980s. <hl> It was initially popularized in Chicago, circa 1984. House music quickly spread to other American cities such as Detroit, New York City, and Newark – all of which developed their own regional scenes. In the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. Early house music commercial success in Europe saw songs such as "Pump Up The Volume" by MARRS (1987), "House Nation" by House Master Boyz and the Rude Boy of House (1987), "Theme from S'Express" by S'Express (1988) and "Doctorin' the House" by Coldcut (1988) in the pop charts. Since the early to mid-1990s, house music has been infused in mainstream pop and dance music worldwide.

House music is a genre of electronic dance music that originated in <hl> Chicago <hl> in the early 1980s. It was initially popularized in Chicago, circa 1984. House music quickly spread to other American cities such as Detroit, New York City, and Newark – all of which developed their own regional scenes. In the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. Early house music commercial success in Europe saw songs such as "Pump Up The Volume" by MARRS (1987), "House Nation" by House Master Boyz and the Rude Boy of House (1987), "Theme from S'Express" by S'Express (1988) and "Doctorin' the House" by Coldcut (1988) in the pop charts. Since the early to mid-1990s, house music has been infused in mainstream pop and dance music worldwide.

question: What city did House music originate from?, context: House music is a genre of electronic dance music that originated in Chicago in the early 1980s. It was initially popularized in Chicago, circa 1984. House music quickly spread to other American cities such as Detroit, New York City, and Newark – all of which developed their own regional scenes. In the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. Early house music commercial success in Europe saw songs such as "Pump Up The Volume" by MARRS (1987), "House Nation" by House Master Boyz and the Rude Boy of House (1987), "Theme from S'Express" by S'Express (1988) and "Doctorin' the House" by Coldcut (1988) in the pop charts. Since the early to mid-1990s, house music has been infused in mainstream pop and dance music worldwide.


Question: What decade did House music first develop?

Answer: 1980s

<hl> House music is a genre of electronic dance music that originated in Chicago in the early 1980s . <hl> It was initially popularized in Chicago, circa 1984. House music quickly spread to other American cities such as Detroit, New York City, and Newark – all of which developed their own regional scenes. In the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. Early house music commercial success in Europe saw songs such as "Pump Up The Volume" by MARRS (1987), "House Nation" by House Master Boyz and the Rude Boy of House (1987), "Theme from S'Express" by S'Express (1988) and "Doctorin' the House" by Coldcut (1988) in the pop charts. Since the early to mid-1990s, house music has been infused in mainstream pop and dance music worldwide.

House music is a genre of electronic dance music that originated in Chicago in the early <hl> 1980s <hl>. It was initially popularized in Chicago, circa 1984. House music quickly spread to other American cities such as Detroit, New York City, and Newark – all of which developed their own regional scenes. In the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. Early house music commercial success in Europe saw songs such as "Pump Up The Volume" by MARRS (1987), "House Nation" by House Master Boyz and the Rude Boy of House (1987), "Theme from S'Express" by S'Express (1988) and "Doctorin' the House" by Coldcut (1988) in the pop charts. Since the early to mid-1990s, house music has been infused in mainstream pop and dance music worldwide.

House music is a genre of electronic dance music that originated in Chicago in the early <hl> 1980s <hl> .

question: What decade did House music first develop?, context: House music is a genre of electronic dance music that originated in Chicago in the early 1980s. It was initially popularized in Chicago, circa 1984. House music quickly spread to other American cities such as Detroit, New York City, and Newark – all of which developed their own regional scenes. In the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. Early house music commercial success in Europe saw songs such as "Pump Up The Volume" by MARRS (1987), "House Nation" by House Master Boyz and the Rude Boy of House (1987), "Theme from S'Express" by S'Express (1988) and "Doctorin' the House" by Coldcut (1988) in the pop charts. Since the early to mid-1990s, house music has been infused in mainstream pop and dance music worldwide.


Question: What year was House music first popularized?

Answer: 1984

House music is a genre of electronic dance music that originated in Chicago in the early 1980s. <hl> It was initially popularized in Chicago, circa 1984 . <hl> House music quickly spread to other American cities such as Detroit, New York City, and Newark – all of which developed their own regional scenes. In the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. Early house music commercial success in Europe saw songs such as "Pump Up The Volume" by MARRS (1987), "House Nation" by House Master Boyz and the Rude Boy of House (1987), "Theme from S'Express" by S'Express (1988) and "Doctorin' the House" by Coldcut (1988) in the pop charts. Since the early to mid-1990s, house music has been infused in mainstream pop and dance music worldwide.

House music is a genre of electronic dance music that originated in Chicago in the early 1980s. It was initially popularized in Chicago, circa <hl> 1984 <hl>. House music quickly spread to other American cities such as Detroit, New York City, and Newark – all of which developed their own regional scenes. In the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. Early house music commercial success in Europe saw songs such as "Pump Up The Volume" by MARRS (1987), "House Nation" by House Master Boyz and the Rude Boy of House (1987), "Theme from S'Express" by S'Express (1988) and "Doctorin' the House" by Coldcut (1988) in the pop charts. Since the early to mid-1990s, house music has been infused in mainstream pop and dance music worldwide.

It was initially popularized in Chicago, circa <hl> 1984 <hl> .

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


Question: What genre does House music fall into?

Answer: electronic dance music

<hl> House music is a genre of electronic dance music that originated in Chicago in the early 1980s. <hl> It was initially popularized in Chicago, circa 1984. House music quickly spread to other American cities such as Detroit, New York City, and Newark – all of which developed their own regional scenes. In the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. Early house music commercial success in Europe saw songs such as "Pump Up The Volume" by MARRS (1987), "House Nation" by House Master Boyz and the Rude Boy of House (1987), "Theme from S'Express" by S'Express (1988) and "Doctorin' the House" by Coldcut (1988) in the pop charts. Since the early to mid-1990s, house music has been infused in mainstream pop and dance music worldwide.

House music is a genre of <hl> electronic dance music <hl> that originated in Chicago in the early 1980s. It was initially popularized in Chicago, circa 1984. House music quickly spread to other American cities such as Detroit, New York City, and Newark – all of which developed their own regional scenes. In the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. Early house music commercial success in Europe saw songs such as "Pump Up The Volume" by MARRS (1987), "House Nation" by House Master Boyz and the Rude Boy of House (1987), "Theme from S'Express" by S'Express (1988) and "Doctorin' the House" by Coldcut (1988) in the pop charts. Since the early to mid-1990s, house music has been infused in mainstream pop and dance music worldwide.

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


Question: What song by MARRS was an early House hit in 1987?

Answer: "Pump Up The Volume"

House music is a genre of electronic dance music that originated in Chicago in the early 1980s. It was initially popularized in Chicago, circa 1984. House music quickly spread to other American cities such as Detroit, New York City, and Newark – all of which developed their own regional scenes. In the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. <hl> Early house music commercial success in Europe saw songs such as "Pump Up The Volume" by MARRS (1987), "House Nation" by House Master Boyz and the Rude Boy of House (1987), "Theme from S'Express" by S'Express (1988) and "Doctorin' the House" by Coldcut (1988) in the pop charts. <hl> Since the early to mid-1990s, house music has been infused in mainstream pop and dance music worldwide.

House music is a genre of electronic dance music that originated in Chicago in the early 1980s. It was initially popularized in Chicago, circa 1984. House music quickly spread to other American cities such as Detroit, New York City, and Newark – all of which developed their own regional scenes. In the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. Early house music commercial success in Europe saw songs such as <hl> "Pump Up The Volume" <hl> by MARRS (1987), "House Nation" by House Master Boyz and the Rude Boy of House (1987), "Theme from S'Express" by S'Express (1988) and "Doctorin' the House" by Coldcut (1988) in the pop charts. Since the early to mid-1990s, house music has been infused in mainstream pop and dance music worldwide.

question: What song by MARRS was an early House hit in 1987?, context: House music is a genre of electronic dance music that originated in Chicago in the early 1980s. It was initially popularized in Chicago, circa 1984. House music quickly spread to other American cities such as Detroit, New York City, and Newark – all of which developed their own regional scenes. In the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. Early house music commercial success in Europe saw songs such as "Pump Up The Volume" by MARRS (1987), "House Nation" by House Master Boyz and the Rude Boy of House (1987), "Theme from S'Express" by S'Express (1988) and "Doctorin' the House" by Coldcut (1988) in the pop charts. Since the early to mid-1990s, house music has been infused in mainstream pop and dance music worldwide.


Question: House music is characterized by what type of beats?

Answer: 4/4 beats

<hl> Early house music was generally dance-based music characterized by repetitive 4/4 beats , rhythms mainly provided by drum machines, off-beat hi-hat cymbals, and synthesized basslines. <hl> While house displayed several characteristics similar to disco music, it was more electronic and minimalistic, and the repetitive rhythm of house was more important than the song itself. House music in the 2010s, while keeping several of these core elements, notably the prominent kick drum on every beat, varies widely in style and influence, ranging from the soulful and atmospheric deep house to the more minimalistic microhouse. House music has also fused with several other genres creating fusion subgenres, such as euro house, tech house, electro house and jump house.

Early house music was generally dance-based music characterized by repetitive <hl> 4/4 beats <hl>, rhythms mainly provided by drum machines, off-beat hi-hat cymbals, and synthesized basslines. While house displayed several characteristics similar to disco music, it was more electronic and minimalistic, and the repetitive rhythm of house was more important than the song itself. House music in the 2010s, while keeping several of these core elements, notably the prominent kick drum on every beat, varies widely in style and influence, ranging from the soulful and atmospheric deep house to the more minimalistic microhouse. House music has also fused with several other genres creating fusion subgenres, such as euro house, tech house, electro house and jump house.

Early house music was generally dance-based music characterized by repetitive <hl> 4/4 beats <hl> , rhythms mainly provided by drum machines, off-beat hi-hat cymbals, and synthesized basslines.

question: House music is characterized by what type of beats?, context: Early house music was generally dance-based music characterized by repetitive 4/4 beats, rhythms mainly provided by drum machines, off-beat hi-hat cymbals, and synthesized basslines. While house displayed several characteristics similar to disco music, it was more electronic and minimalistic, and the repetitive rhythm of house was more important than the song itself. House music in the 2010s, while keeping several of these core elements, notably the prominent kick drum on every beat, varies widely in style and influence, ranging from the soulful and atmospheric deep house to the more minimalistic microhouse. House music has also fused with several other genres creating fusion subgenres, such as euro house, tech house, electro house and jump house.


Question: What are some subgenres of House music?

Answer: euro house, tech house, electro house and jump house

Early house music was generally dance-based music characterized by repetitive 4/4 beats, rhythms mainly provided by drum machines, off-beat hi-hat cymbals, and synthesized basslines. While house displayed several characteristics similar to disco music, it was more electronic and minimalistic, and the repetitive rhythm of house was more important than the song itself. House music in the 2010s, while keeping several of these core elements, notably the prominent kick drum on every beat, varies widely in style and influence, ranging from the soulful and atmospheric deep house to the more minimalistic microhouse. <hl> House music has also fused with several other genres creating fusion subgenres, such as euro house, tech house, electro house and jump house . <hl>

Early house music was generally dance-based music characterized by repetitive 4/4 beats, rhythms mainly provided by drum machines, off-beat hi-hat cymbals, and synthesized basslines. While house displayed several characteristics similar to disco music, it was more electronic and minimalistic, and the repetitive rhythm of house was more important than the song itself. House music in the 2010s, while keeping several of these core elements, notably the prominent kick drum on every beat, varies widely in style and influence, ranging from the soulful and atmospheric deep house to the more minimalistic microhouse. House music has also fused with several other genres creating fusion subgenres, such as <hl> euro house, tech house, electro house and jump house <hl>.

House music has also fused with several other genres creating fusion subgenres, such as <hl> euro house, tech house, electro house and jump house <hl> .

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


Question: What are rhythms provided by in House music?

Answer: drum machines

<hl> Early house music was generally dance-based music characterized by repetitive 4/4 beats, rhythms mainly provided by drum machines , off-beat hi-hat cymbals, and synthesized basslines. <hl> While house displayed several characteristics similar to disco music, it was more electronic and minimalistic, and the repetitive rhythm of house was more important than the song itself. House music in the 2010s, while keeping several of these core elements, notably the prominent kick drum on every beat, varies widely in style and influence, ranging from the soulful and atmospheric deep house to the more minimalistic microhouse. House music has also fused with several other genres creating fusion subgenres, such as euro house, tech house, electro house and jump house.

Early house music was generally dance-based music characterized by repetitive 4/4 beats, rhythms mainly provided by <hl> drum machines <hl>, off-beat hi-hat cymbals, and synthesized basslines. While house displayed several characteristics similar to disco music, it was more electronic and minimalistic, and the repetitive rhythm of house was more important than the song itself. House music in the 2010s, while keeping several of these core elements, notably the prominent kick drum on every beat, varies widely in style and influence, ranging from the soulful and atmospheric deep house to the more minimalistic microhouse. House music has also fused with several other genres creating fusion subgenres, such as euro house, tech house, electro house and jump house.

Early house music was generally dance-based music characterized by repetitive 4/4 beats, rhythms mainly provided by <hl> drum machines <hl> , off-beat hi-hat cymbals, and synthesized basslines.

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


Question: What are some differences between House and Disco music?

Answer: it was more electronic and minimalistic

Early house music was generally dance-based music characterized by repetitive 4/4 beats, rhythms mainly provided by drum machines, off-beat hi-hat cymbals, and synthesized basslines. <hl> While house displayed several characteristics similar to disco music, it was more electronic and minimalistic , and the repetitive rhythm of house was more important than the song itself. <hl> House music in the 2010s, while keeping several of these core elements, notably the prominent kick drum on every beat, varies widely in style and influence, ranging from the soulful and atmospheric deep house to the more minimalistic microhouse. House music has also fused with several other genres creating fusion subgenres, such as euro house, tech house, electro house and jump house.

Early house music was generally dance-based music characterized by repetitive 4/4 beats, rhythms mainly provided by drum machines, off-beat hi-hat cymbals, and synthesized basslines. While house displayed several characteristics similar to disco music, <hl> it was more electronic and minimalistic <hl>, and the repetitive rhythm of house was more important than the song itself. House music in the 2010s, while keeping several of these core elements, notably the prominent kick drum on every beat, varies widely in style and influence, ranging from the soulful and atmospheric deep house to the more minimalistic microhouse. House music has also fused with several other genres creating fusion subgenres, such as euro house, tech house, electro house and jump house.

While house displayed several characteristics similar to disco music, <hl> it was more electronic and minimalistic <hl> , and the repetitive rhythm of house was more important than the song itself.

question: What are some differences between House and Disco music?, context: Early house music was generally dance-based music characterized by repetitive 4/4 beats, rhythms mainly provided by drum machines, off-beat hi-hat cymbals, and synthesized basslines. While house displayed several characteristics similar to disco music, it was more electronic and minimalistic, and the repetitive rhythm of house was more important than the song itself. House music in the 2010s, while keeping several of these core elements, notably the prominent kick drum on every beat, varies widely in style and influence, ranging from the soulful and atmospheric deep house to the more minimalistic microhouse. House music has also fused with several other genres creating fusion subgenres, such as euro house, tech house, electro house and jump house.


Question: What type of music is House based on?

Answer: dance-based music

<hl> Early house music was generally dance-based music characterized by repetitive 4/4 beats, rhythms mainly provided by drum machines, off-beat hi-hat cymbals, and synthesized basslines. <hl> While house displayed several characteristics similar to disco music, it was more electronic and minimalistic, and the repetitive rhythm of house was more important than the song itself. House music in the 2010s, while keeping several of these core elements, notably the prominent kick drum on every beat, varies widely in style and influence, ranging from the soulful and atmospheric deep house to the more minimalistic microhouse. House music has also fused with several other genres creating fusion subgenres, such as euro house, tech house, electro house and jump house.

Early house music was generally <hl> dance-based music <hl> characterized by repetitive 4/4 beats, rhythms mainly provided by drum machines, off-beat hi-hat cymbals, and synthesized basslines. While house displayed several characteristics similar to disco music, it was more electronic and minimalistic, and the repetitive rhythm of house was more important than the song itself. House music in the 2010s, while keeping several of these core elements, notably the prominent kick drum on every beat, varies widely in style and influence, ranging from the soulful and atmospheric deep house to the more minimalistic microhouse. House music has also fused with several other genres creating fusion subgenres, such as euro house, tech house, electro house and jump house.

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


Question: When was the second wave of progressive house?

Answer: 1999–2001

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

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

After enjoying significant success in the early to mid-90s, house music grew even larger during the second wave of progressive house ( <hl> 1999–2001 <hl> )

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


Question: What are some popular subgenres of House?

Answer: G-house, Deep House, Tech House and Bass House

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

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

The genre has remained popular and fused into other popular subgenres, for example, <hl> G-house, Deep House, Tech House and Bass House <hl> .

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


Question: where is house music extremely popular?

Answer: both clubs and in the mainstream pop scene

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

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

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


Question: What variation of house music was produced by artists such as Madonna and Kylie Minogue?

Answer: a more mainstream pop-based variation

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

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

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


Question: What instruments did disco songs incorporate from house music?

Answer: synthesizers and drum machines

<hl> Various disco songs incorporated sounds produced with synthesizers and drum machines , and some compositions were entirely electronic; examples include Giorgio Moroder's late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977, Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor (1979), and several early 1980s disco-pop productions by the Hi-NRG group Lime. <hl>

Various disco songs incorporated sounds produced with <hl> synthesizers and drum machines <hl>, and some compositions were entirely electronic; examples include Giorgio Moroder's late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977, Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor (1979), and several early 1980s disco-pop productions by the Hi-NRG group Lime.

Various disco songs incorporated sounds produced with <hl> synthesizers and drum machines <hl> , and some compositions were entirely electronic; examples include Giorgio Moroder's late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977, Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor (1979), and several early 1980s disco-pop productions by the Hi-NRG group Lime.

question: What instruments did disco songs incorporate from house music?, context: Various disco songs incorporated sounds produced with synthesizers and drum machines, and some compositions were entirely electronic; examples include Giorgio Moroder's late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977, Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor (1979), and several early 1980s disco-pop productions by the Hi-NRG group Lime.


Question: who produced Donna Summer's hit single "I Feel Love"?

Answer: Giorgio Moroder

<hl> Various disco songs incorporated sounds produced with synthesizers and drum machines, and some compositions were entirely electronic; examples include Giorgio Moroder 's late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977, Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor (1979), and several early 1980s disco-pop productions by the Hi-NRG group Lime. <hl>

Various disco songs incorporated sounds produced with synthesizers and drum machines, and some compositions were entirely electronic; examples include <hl> Giorgio Moroder <hl>'s late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977, Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor (1979), and several early 1980s disco-pop productions by the Hi-NRG group Lime.

Various disco songs incorporated sounds produced with synthesizers and drum machines, and some compositions were entirely electronic; examples include <hl> Giorgio Moroder <hl> 's late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977, Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor (1979), and several early 1980s disco-pop productions by the Hi-NRG group Lime.

question: who produced Donna Summer's hit single "I Feel Love"?, context: Various disco songs incorporated sounds produced with synthesizers and drum machines, and some compositions were entirely electronic; examples include Giorgio Moroder's late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977, Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor (1979), and several early 1980s disco-pop productions by the Hi-NRG group Lime.


Question: what sort of music did Hi-NRG group Lime produce?

Answer: 1980s disco-pop

<hl> Various disco songs incorporated sounds produced with synthesizers and drum machines, and some compositions were entirely electronic; examples include Giorgio Moroder's late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977, Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor (1979), and several early 1980s disco-pop productions by the Hi-NRG group Lime. <hl>

Various disco songs incorporated sounds produced with synthesizers and drum machines, and some compositions were entirely electronic; examples include Giorgio Moroder's late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977, Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor (1979), and several early <hl> 1980s disco-pop <hl> productions by the Hi-NRG group Lime.

question: what sort of music did Hi-NRG group Lime produce?, context: Various disco songs incorporated sounds produced with synthesizers and drum machines, and some compositions were entirely electronic; examples include Giorgio Moroder's late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977, Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor (1979), and several early 1980s disco-pop productions by the Hi-NRG group Lime.


Question: What year did Cerrone's "Supernature" get released?

Answer: 1977

<hl> Various disco songs incorporated sounds produced with synthesizers and drum machines, and some compositions were entirely electronic; examples include Giorgio Moroder's late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977 , Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor (1979), and several early 1980s disco-pop productions by the Hi-NRG group Lime. <hl>

Various disco songs incorporated sounds produced with synthesizers and drum machines, and some compositions were entirely electronic; examples include Giorgio Moroder's late 1970s productions such as Donna Summer's hit single "I Feel Love" from <hl> 1977 <hl>, Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor (1979), and several early 1980s disco-pop productions by the Hi-NRG group Lime.

Various disco songs incorporated sounds produced with synthesizers and drum machines, and some compositions were entirely electronic; examples include Giorgio Moroder's late 1970s productions such as Donna Summer's hit single "I Feel Love" from <hl> 1977 <hl> , Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor (1979), and several early 1980s disco-pop productions by the Hi-NRG group Lime.

question: What year did Cerrone's "Supernature" get released?, context: Various disco songs incorporated sounds produced with synthesizers and drum machines, and some compositions were entirely electronic; examples include Giorgio Moroder's late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977, Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor (1979), and several early 1980s disco-pop productions by the Hi-NRG group Lime.


Question: What year was solid state survivor released?

Answer: 1979

<hl> Various disco songs incorporated sounds produced with synthesizers and drum machines, and some compositions were entirely electronic; examples include Giorgio Moroder's late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977, Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor ( 1979 ), and several early 1980s disco-pop productions by the Hi-NRG group Lime. <hl>

Various disco songs incorporated sounds produced with synthesizers and drum machines, and some compositions were entirely electronic; examples include Giorgio Moroder's late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977, Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor (<hl> 1979 <hl>), and several early 1980s disco-pop productions by the Hi-NRG group Lime.

Various disco songs incorporated sounds produced with synthesizers and drum machines, and some compositions were entirely electronic; examples include Giorgio Moroder's late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977, Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor ( <hl> 1979 <hl> ), and several early 1980s disco-pop productions by the Hi-NRG group Lime.

question: What year was solid state survivor released?, context: Various disco songs incorporated sounds produced with synthesizers and drum machines, and some compositions were entirely electronic; examples include Giorgio Moroder's late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977, Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic Orchestra (1978), Solid State Survivor (1979), and several early 1980s disco-pop productions by the Hi-NRG group Lime.


Question: What influenced House music?

Answer: Soul and disco

<hl> Soul and disco influenced house music, plus mixing and editing techniques earlier explored by disco, garage music and post-disco DJs, producers, and audio engineers such as Walter Gibbons, Tom Moulton, Jim Burgess, Larry Levan, Ron Hardy, M & M, and others who produced longer, more repetitive, and percussive arrangements of existing disco recordings. <hl> Early house producers such as Frankie Knuckles created similar compositions from scratch, using samplers, synthesizers, sequencers, and drum machines.

<hl> Soul and disco <hl> influenced house music, plus mixing and editing techniques earlier explored by disco, garage music and post-disco DJs, producers, and audio engineers such as Walter Gibbons, Tom Moulton, Jim Burgess, Larry Levan, Ron Hardy, M & M, and others who produced longer, more repetitive, and percussive arrangements of existing disco recordings. Early house producers such as Frankie Knuckles created similar compositions from scratch, using samplers, synthesizers, sequencers, and drum machines.

question: What influenced House music?, context: Soul and disco influenced house music, plus mixing and editing techniques earlier explored by disco, garage music and post-disco DJs, producers, and audio engineers such as Walter Gibbons, Tom Moulton, Jim Burgess, Larry Levan, Ron Hardy, M & M, and others who produced longer, more repetitive, and percussive arrangements of existing disco recordings. Early house producers such as Frankie Knuckles created similar compositions from scratch, using samplers, synthesizers, sequencers, and drum machines.


Question: What type of producer was Frankie Knuckles?

Answer: Early house producers

Soul and disco influenced house music, plus mixing and editing techniques earlier explored by disco, garage music and post-disco DJs, producers, and audio engineers such as Walter Gibbons, Tom Moulton, Jim Burgess, Larry Levan, Ron Hardy, M & M, and others who produced longer, more repetitive, and percussive arrangements of existing disco recordings. <hl> Early house producers such as Frankie Knuckles created similar compositions from scratch, using samplers, synthesizers, sequencers, and drum machines. <hl>

Soul and disco influenced house music, plus mixing and editing techniques earlier explored by disco, garage music and post-disco DJs, producers, and audio engineers such as Walter Gibbons, Tom Moulton, Jim Burgess, Larry Levan, Ron Hardy, M & M, and others who produced longer, more repetitive, and percussive arrangements of existing disco recordings. <hl> Early house producers <hl> such as Frankie Knuckles created similar compositions from scratch, using samplers, synthesizers, sequencers, and drum machines.

question: What type of producer was Frankie Knuckles?, context: Soul and disco influenced house music, plus mixing and editing techniques earlier explored by disco, garage music and post-disco DJs, producers, and audio engineers such as Walter Gibbons, Tom Moulton, Jim Burgess, Larry Levan, Ron Hardy, M & M, and others who produced longer, more repetitive, and percussive arrangements of existing disco recordings. Early house producers such as Frankie Knuckles created similar compositions from scratch, using samplers, synthesizers, sequencers, and drum machines.


Question: what did Frankie Knuckles use to create his compositions?

Answer: samplers, synthesizers, sequencers, and drum machines

Soul and disco influenced house music, plus mixing and editing techniques earlier explored by disco, garage music and post-disco DJs, producers, and audio engineers such as Walter Gibbons, Tom Moulton, Jim Burgess, Larry Levan, Ron Hardy, M & M, and others who produced longer, more repetitive, and percussive arrangements of existing disco recordings. <hl> Early house producers such as Frankie Knuckles created similar compositions from scratch, using samplers, synthesizers, sequencers, and drum machines . <hl>

Soul and disco influenced house music, plus mixing and editing techniques earlier explored by disco, garage music and post-disco DJs, producers, and audio engineers such as Walter Gibbons, Tom Moulton, Jim Burgess, Larry Levan, Ron Hardy, M & M, and others who produced longer, more repetitive, and percussive arrangements of existing disco recordings. Early house producers such as Frankie Knuckles created similar compositions from scratch, using <hl> samplers, synthesizers, sequencers, and drum machines <hl>.

Early house producers such as Frankie Knuckles created similar compositions from scratch, using <hl> samplers, synthesizers, sequencers, and drum machines <hl> .

question: what did Frankie Knuckles use to create his compositions?, context: Soul and disco influenced house music, plus mixing and editing techniques earlier explored by disco, garage music and post-disco DJs, producers, and audio engineers such as Walter Gibbons, Tom Moulton, Jim Burgess, Larry Levan, Ron Hardy, M & M, and others who produced longer, more repetitive, and percussive arrangements of existing disco recordings. Early house producers such as Frankie Knuckles created similar compositions from scratch, using samplers, synthesizers, sequencers, and drum machines.


Question: What was the name of Charanjit Singh's 1982 album?

Answer: Synthesizing: Ten Ragas to a Disco Beat

<hl> The electronic instrumentation and minimal arrangement of Charanjit Singh's Synthesizing: Ten Ragas to a Disco Beat (1982), an album of Indian ragas performed in a disco style, anticipated the sounds of acid house music, but it is not known to have had any influence on the genre prior to the album's rediscovery in the 21st century. <hl>

The electronic instrumentation and minimal arrangement of Charanjit Singh's <hl> Synthesizing: Ten Ragas to a Disco Beat <hl> (1982), an album of Indian ragas performed in a disco style, anticipated the sounds of acid house music, but it is not known to have had any influence on the genre prior to the album's rediscovery in the 21st century.

question: What was the name of Charanjit Singh's 1982 album?, context: The electronic instrumentation and minimal arrangement of Charanjit Singh's Synthesizing: Ten Ragas to a Disco Beat (1982), an album of Indian ragas performed in a disco style, anticipated the sounds of acid house music, but it is not known to have had any influence on the genre prior to the album's rediscovery in the 21st century.


Question: What did Singh's album contain?

Answer: Indian ragas performed in a disco style

<hl> The electronic instrumentation and minimal arrangement of Charanjit Singh's Synthesizing: Ten Ragas to a Disco Beat (1982), an album of Indian ragas performed in a disco style , anticipated the sounds of acid house music, but it is not known to have had any influence on the genre prior to the album's rediscovery in the 21st century. <hl>

The electronic instrumentation and minimal arrangement of Charanjit Singh's Synthesizing: Ten Ragas to a Disco Beat (1982), an album of <hl> Indian ragas performed in a disco style <hl>, anticipated the sounds of acid house music, but it is not known to have had any influence on the genre prior to the album's rediscovery in the 21st century.

The electronic instrumentation and minimal arrangement of Charanjit Singh's Synthesizing: Ten Ragas to a Disco Beat (1982), an album of <hl> Indian ragas performed in a disco style <hl> , anticipated the sounds of acid house music, but it is not known to have had any influence on the genre prior to the album's rediscovery in the 21st century.

question: What did Singh's album contain?, context: The electronic instrumentation and minimal arrangement of Charanjit Singh's Synthesizing: Ten Ragas to a Disco Beat (1982), an album of Indian ragas performed in a disco style, anticipated the sounds of acid house music, but it is not known to have had any influence on the genre prior to the album's rediscovery in the 21st century.