romikgosai/squad_modified huggingface dataset:
Broadcasters were faced with having to adapt daily to the varied recording characteristics of many sources: various makers of "home recordings" readily available to the public, European recordings, lateral-cut transcriptions, and vertical-cut transcriptions. Efforts were started in 1942 to standardize within the National Association of Broadcasters (NAB), later known as the National Association of Radio and Television Broadcasters (NARTB). The NAB, among other items, issued recording standards in 1949 for laterally and vertically cut records, principally transcriptions. A number of 78 rpm record producers as well as early LP makers also cut their records to the NAB/NARTB lateral standard.

Questions and answers:
['
Q: Who made the move to standardize recordings?
A: National Association of Broadcasters', '
Q: When were recording standards officially released?
A: 1949', '
Q:  Which recording types were effected by the imposed industry standards?
A: laterally and vertically cut records, principally transcriptions.', '
Q: What was one issue of a lack of industry standards?
A: Broadcasters were faced with having to adapt daily to the varied recording', '
Q: What is the NAB?
A: National Association of Broadcasters']
The lateral cut NAB curve was remarkably similar to the NBC Orthacoustic curve that evolved from practices within the National Broadcasting Company since the mid-1930s. Empirically, and not by any formula, it was learned that the bass end of the audio spectrum below 100 Hz could be boosted somewhat to override system hum and turntable rumble noises. Likewise at the treble end beginning at 1,000 Hz, if audio frequencies were boosted by 16 dB at 10,000 Hz the delicate sibilant sounds of speech and high overtones of musical instruments could survive the noise level of cellulose acetate, lacquer/aluminum, and vinyl disc media. When the record was played back using a complementary inverse curve, signal-to-noise ratio was improved and the programming sounded more lifelike.

Questions and answers:
['
Q: What bass settings were needed to eliminate hum?
A: below 100 Hz', '
Q: What helped cause the most life like sound?
A: using a complementary inverse curve', '
Q: How did the NBC Othacoustic curve relate to the NAB curve?
A: remarkably similar', '
Q: What was a benefit to broadcasters of recording standards?
A: programming sounded more lifelike.']
Ultimately, the New Orthophonic curve was disclosed in a publication by R.C. Moyer of RCA Victor in 1953. He traced RCA Victor characteristics back to the Western Electric "rubber line" recorder in 1925 up to the early 1950s laying claim to long-held recording practices and reasons for major changes in the intervening years. The RCA Victor New Orthophonic curve was within the tolerances for the NAB/NARTB, Columbia LP, and AES curves. It eventually became the technical predecessor to the RIAA curve.

Questions and answers:
['
Q: How far back could these recording practices be traced?
A: 1925', '
Q: What were the recording standards based off from?
A: long-held recording practices', '
Q: What became the predecessor to the RIAA curve?
A: New Orthophonic curve', '
Q: Who developed the New Orthophonic curve?
A: RCA Victor', '
Q: Whom wrote the publication outlining the New Orthophonic curve?
A: R.C. Moyer']
Delicate sounds and fine overtones were mostly lost, because it took a lot of sound energy to vibrate the recording horn diaphragm and cutting mechanism. There were acoustic limitations due to mechanical resonances in both the recording and playback system. Some pictures of acoustic recording sessions show horns wrapped with tape to help mute these resonances. Even an acoustic recording played back electrically on modern equipment sounds like it was recorded through a horn, notwithstanding a reduction in distortion because of the modern playback. Toward the end of the acoustic era, there were many fine examples of recordings made with horns.

Questions and answers:
['
Q: What was the quality of sound recordings made with horns at the end of the acoustic era?
A: many fine examples', '
Q: What were issues facing play back and recording mechanics?
A: acoustic limitations', '
Q: Why do photos show take on horns?
A: help mute these resonances', '
Q: What was the cause of delicate and fine sound loss?
A: took a lot of sound energy', '
Q: How would a record recorded with a horn sound played through modern equipment?
A: like it was recorded through a horn']
Electric recording which developed during the time that early radio was becoming popular (1925) benefited from the microphones and amplifiers used in radio studios. The early electric recordings were reminiscent tonally of acoustic recordings, except there was more recorded bass and treble as well as delicate sounds and overtones cut on the records. This was in spite of some carbon microphones used, which had resonances that colored the recorded tone. The double button carbon microphone with stretched diaphragm was a marked improvement. Alternatively, the Wente style condenser microphone used with the Western Electric licensed recording method had a brilliant midrange and was prone to overloading from sibilants in speech, but generally it gave more accurate reproduction than carbon microphones.

Questions and answers:
['
Q: What technique offered realistic sounds during playback?
A: Western Electric licensed recording method', '
Q: At at time was radio gaining popularity?
A: 1925', '
Q: What type of microphones were losing popularity in the 1920s?
A: carbon microphones used,', '
Q: What benefit did the use of the Wente style condenser microphone offer?
A: brilliant midrange', '
Q: What was a benefit of early radio recordings?
A: microphones and amplifiers']
It was not unusual for electric recordings to be played back on acoustic phonographs. The Victor Orthophonic phonograph was a prime example where such playback was expected. In the Orthophonic, which benefited from telephone research, the mechanical pickup head was redesigned with lower resonance than the traditional mica type. Also, a folded horn with an exponential taper was constructed inside the cabinet to provide better impedance matching to the air. As a result, playback of an Orthophonic record sounded like it was coming from a radio.

Questions and answers:
['
Q: What is one example of an acoustic phonograph on which one would listen to electric recordings?
A: Victor Orthophonic phonograph', '
Q: What allowed better sounds inside the cabinet of the orthoponic phonograph?
A: folded horn with an exponential taper', '
Q: What adjustments were made to the orthophonic  to accommodate electric recordings?
A: mechanical pickup head was redesigned with lower resonance than the traditional mica type', '
Q: Was it common to hear electric recordings on phonographs?
A: not unusual', '
Q: How similar was the sound of a orthodontic  record to a radio?
A: sounded like']
Eventually, when it was more common for electric recordings to be played back electrically in the 1930s and 1940s, the overall tone was much like listening to a radio of the era. Magnetic pickups became more common and were better designed as time went on, making it possible to improve the damping of spurious resonances. Crystal pickups were also introduced as lower cost alternatives. The dynamic or moving coil microphone was introduced around 1930 and the velocity or ribbon microphone in 1932. Both of these high quality microphones became widespread in motion picture, radio, recording, and public address applications.

Questions and answers:
['
Q: What are two examples of high quality microphones?
A: moving coil microphone was introduced around 1930 and the velocity or ribbon microphone', '
Q: What was used to dampen resonances in recordings?
A: Magnetic pickups', '
Q: When would you have first found the moving coil microphone?
A: around 1930', '
Q: What was a more economical option to magnetic pickups?
A: Crystal pickups', '
Q: In what years would you find electronic recordings played electronically?
A: 1930s and 1940s']
Over time, fidelity, dynamic and noise levels improved to the point that it was harder to tell the difference between a live performance in the studio and the recorded version. This was especially true after the invention of the variable reluctance magnetic pickup cartridge by General Electric in the 1940s when high quality cuts were played on well-designed audio systems. The Capehart radio/phonographs of the era with large diameter electrodynamic loudspeakers, though not ideal, demonstrated this quite well with "home recordings" readily available in the music stores for the public to buy.

Questions and answers:
['
Q: What was a benefit of the use of magnetic pickup cartridge?
A: high quality cuts', '
Q: In what era could you find good quality recordings and playbacks at home?
A: 1940s', '
Q: What was a unique feature of the Capeart radio phonographs?
A: large diameter electrodynamic loudspeakers', '
Q: How similar were live and recorded versions?
A: harder to tell the difference']
There were important quality advances in recordings specifically made for radio broadcast. In the early 1930s Bell Telephone Laboratories and Western Electric announced the total reinvention of disc recording: the Western Electric Wide Range System, "The New Voice of Action". The intent of the new Western Electric system was to improve the overall quality of disc recording and playback. The recording speed was 33 1⁄3 rpm, originally used in the Western Electric/ERPI movie audio disc system implemented in the early Warner Brothers' Vitaphone "talkies" of 1927.

Questions and answers:
['
Q: When was the Western Electric System introduced?
A: early 1930s', '
Q: What two companies worked together to develop the Western Electric System?
A: Bell Telephone Laboratories and Western Electric', '
Q: What system was used by Warner Brothers?
A: Western Electric system', '
Q: What speed was used in the Western Electric System?
A: 33 1⁄3 rpm', '
Q: What was the Western Electric System believed to do?
A: improve the overall quality']
The newly invented Western Electric moving coil or dynamic microphone was part of the Wide Range System. It had a flatter audio response than the old style Wente condenser type and didn't require electronics installed in the microphone housing. Signals fed to the cutting head were pre-emphasized in the treble region to help override noise in playback. Groove cuts in the vertical plane were employed rather than the usual lateral cuts. The chief advantage claimed was more grooves per inch that could be crowded together, resulting in longer playback time. Additionally, the problem of inner groove distortion, which plagued lateral cuts, could be avoided with the vertical cut system. Wax masters were made by flowing heated wax over a hot metal disc thus avoiding the microscopic irregularities of cast blocks of wax and the necessity of planing and polishing.

Questions and answers:
['
Q: What was a benefit of vertical groove cuts?
A: longer playback time', '
Q: What could be avoided by using vertical groove cuts?
A: inner groove distortion', "
Q: How was the moving coil microphone unique to the Wente type?
A: didn't require electronics installed in the microphone housing", '
Q: How was sound improved using the moving coil microphone?
A: override noise in playback', '
Q: How was wax used to improve recordings?
A: avoiding the microscopic irregularities']
Vinyl pressings were made with stampers from master cuts that were electroplated in vacuo by means of gold sputtering. Audio response was claimed out to 8,000 Hz, later 13,000 Hz, using light weight pickups employing jeweled styli. Amplifiers and cutters both using negative feedback were employed thereby improving the range of frequencies cut and lowering distortion levels. Radio transcription producers such as World Broadcasting System and Associated Music Publishers (AMP) were the dominant licensees of the Western Electric wide range system and towards the end of the 1930s were responsible for two-thirds of the total radio transcription business. These recordings use a bass turnover of 300 Hz and a 10,000 Hz rolloff of −8.5 dB.

Questions and answers:
['
Q: What were used to make vinyl pressings?
A: master cuts', '
Q: What were the top licensees of the Western Electric system in the 1930s?
A: World Broadcasting System and Associated Music Publishers', '
Q: Who was responsible for 2/3 of all recordings in the 1930s?
A: World Broadcasting System and Associated Music Publishers', '
Q: How was gold spluttering used in vinyl creation?
A: cuts that were electroplated in vacuo by means of gold sputtering']
The complete technical disclosure of the Columbia LP by Peter C. Goldmark, Rene' Snepvangers and William S. Bachman in 1949 made it possible for a great variety of record companies to get into the business of making long playing records. The business grew quickly and interest spread in high fidelity sound and the do-it-yourself market for pickups, turntables, amplifier kits, loudspeaker enclosure plans, and AM/FM radio tuners. The LP record for longer works, 45 rpm for pop music, and FM radio became high fidelity program sources in demand. Radio listeners heard recordings broadcast and this in turn generated more record sales. The industry flourished.

Questions and answers:
['
Q: When was the business booming for do it yourself sound fanatics?
A: 1949', '
Q: What kind of recordings worked best for pop music?
A: 45 rpm', '
Q: What was used for longer recordings?
A: LP record', "
Q: What opened doors for long recordings?
A: The complete technical disclosure of the Columbia LP by Peter C. Goldmark, Rene' Snepvangers and William S. Bachman", '
Q: What aided in records sales in the 1950s?
A: Radio listeners heard recordings broadcast']
There is a theory that vinyl records can audibly represent higher frequencies than compact discs. According to Red Book specifications, the compact disc has a frequency response of 20 Hz up to 22,050 Hz, and most CD players measure flat within a fraction of a decibel from at least 20 Hz to 20 kHz at full output. Turntable rumble obscures the low-end limit of vinyl but the upper end can be, with some cartridges, reasonably flat within a few decibels to 30 kHz, with gentle roll-off. Carrier signals of Quad LPs popular in the 1970s were at 30 kHz to be out of the range of human hearing. The average human auditory system is sensitive to frequencies from 20 Hz to a maximum of around 20,000 Hz. The upper and lower frequency limits of human hearing vary per person.

Questions and answers:
['
Q: What is generally the lowest sound a human can hear?
A: 20 Hz', '
Q: What is believed to better offer sounds of higher frequencies, compact discs or records?
A: vinyl records', '
Q: What is the higher end of typical human hearing?
A: 20,000 Hz', '
Q: Does the hearing range of the human vary?
A: The upper and lower frequency limits of human hearing vary per person']
For the first several decades of disc record manufacturing, sound was recorded directly on to the "master disc" at the recording studio. From about 1950 on (earlier for some large record companies, later for some small ones) it became usual to have the performance first recorded on audio tape, which could then be processed and/or edited, and then dubbed on to the master disc. A record cutter would engrave the grooves into the master disc. Early versions of these master discs were soft wax, and later a harder lacquer was used. The mastering process was originally something of an art as the operator had to manually allow for the changes in sound which affected how wide the space for the groove needed to be on each rotation.

Questions and answers:
['
Q: Who would engrave the master disc of a vinyl record?
A: record cutter', '
Q: What was used in first recordings of vinyl records?
A: soft wax', '
Q: What was used in final recordings of vinyl records?
A: harder lacquer', '
Q: After the 1950s  what was a typical recording process?
A: first recorded on audio tape, which could then be processed and/or edited, and then dubbed on to the master disc', '
Q: Where were sound recordings originally made to?
A: master disc']
As the playing of gramophone records causes gradual degradation of the recording, they are best preserved by transferring them onto other media and playing the records as rarely as possible. They need to be stored on edge, and do best under environmental conditions that most humans would find comfortable. The medium needs to be kept clean, but alcohol should only be used on PVC or optical media, not on 78s.[citation needed] The equipment for playback of certain formats (e.g., 16 and 78 rpm) is manufactured only in small quantities, leading to increased difficulty in finding equipment to play the recordings.

Questions and answers:
['
Q: Should alcohol be used to clean gramophone recordings?
A: alcohol should only be used on PVC or optical media', '
Q: Is gramophone equipment readily available?
A: manufactured only in small quantities', '
Q: What is the recommendation of gramophone recordings to preserve integrity?
A: transferring them onto other media', '
Q: What is a drawback of gramophone use?
A: gradual degradation', '
Q: How are gramophones best stored?
A: on edge']
Where old disc recordings are considered to be of artistic or historic interest, from before the era of tape or where no tape master exists, archivists play back the disc on suitable equipment and record the result, typically onto a digital format, which can be copied and manipulated to remove analog flaws without any further damage to the source recording. For example, Nimbus Records uses a specially built horn record player to transfer 78s. Anyone can do this using a standard record player with a suitable pickup, a phono-preamp (pre-amplifier) and a typical personal computer. However, for accurate transfer, professional archivists carefully choose the correct stylus shape and diameter, tracking weight, equalisation curve and other playback parameters and use high-quality analogue-to-digital converters.

Questions and answers:
['
Q: Is it difficult to transfer recording from historic interest to newer technologies?
A: Anyone can do this', '
Q: What would offer the highest quality transfers of historic interest?
A: professional archivists', '
Q: What would a hobbiest need to transfer historic recordings to digital formats?
A: standard record player with a suitable pickup, a phono-preamp (pre-amplifier) and a typical personal computer', '
Q: Is an original destroyed when transferred to digital format?
A: without any further damage to the source recording', '
Q: What is one benefit of transferring an older format to a newer format?
A: manipulated to remove analog flaws']
Groove recordings, first designed in the final quarter of the 19th century, held a predominant position for nearly a century—withstanding competition from reel-to-reel tape, the 8-track cartridge, and the compact cassette. In 1988, the compact disc surpassed the gramophone record in unit sales. Vinyl records experienced a sudden decline in popularity between 1988 and 1991, when the major label distributors restricted their return policies, which retailers had been relying on to maintain and swap out stocks of relatively unpopular titles. First the distributors began charging retailers more for new product if they returned unsold vinyl, and then they stopped providing any credit at all for returns. Retailers, fearing they would be stuck with anything they ordered, only ordered proven, popular titles that they knew would sell, and devoted more shelf space to CDs and cassettes. Record companies also deleted many vinyl titles from production and distribution, further undermining the availability of the format and leading to the closure of pressing plants. This rapid decline in the availability of records accelerated the format's decline in popularity, and is seen by some as a deliberate ploy to make consumers switch to CDs, which were more profitable for the record companies.

Questions and answers:
['
Q: What was a major cause of declined vinyl sales?
A: major label distributors restricted their return policies', '
Q: Which allows for more profits, vinyl or compact discs?
A: CDs, which were more profitable for the record companies', '
Q: When did vinyl record sales decline?
A: between 1988 and 1991', '
Q: When did compact disc popularity take hold?
A: 1988', '
Q: When were groove recordings developed?
A: final quarter of the 19th century,']
In spite of their flaws, such as the lack of portability, records still have enthusiastic supporters. Vinyl records continue to be manufactured and sold today, especially by independent rock bands and labels, although record sales are considered to be a niche market composed of audiophiles, collectors, and DJs. Old records and out-of-print recordings in particular are in much demand by collectors the world over. (See Record collecting.) Many popular new albums are given releases on vinyl records and older albums are also given reissues, sometimes on audiophile-grade vinyl.

Questions and answers:
['
Q: Are records generally out of print as of date?
A: Vinyl records continue to be manufactured and sold today', '
Q: Are albums ever reproduced?
A: Many popular new albums are given releases', '
Q: What types of vinyl hold the most popularity?
A: Old records and out-of-print recordings', '
Q: Does vinyl record maintain any popularity?
A: records still have enthusiastic supporters']
Many electronic dance music and hip hop releases today are still preferred on vinyl; however, digital copies are still widely available. This is because for disc jockeys ("DJs"), vinyl has an advantage over the CD: direct manipulation of the medium. DJ techniques such as slip-cueing, beatmatching, and scratching originated on turntables. With CDs or compact audio cassettes one normally has only indirect manipulation options, e.g., the play, stop, and pause buttons. With a record one can place the stylus a few grooves farther in or out, accelerate or decelerate the turntable, or even reverse its direction, provided the stylus, record player, and record itself are built to withstand it. However, many CDJ and DJ advances, such as DJ software and time-encoded vinyl, now have these capabilities and more.

Questions and answers:
['
Q: What is a reason a DJ would prefer vinyl to CD?
A: direct manipulation', '
Q: In what techniques would a DJ require a vinyl record?
A: slip-cueing, beatmatching, and scratching', '
Q: Are all turn tables capable of DJ manipulation of vinyl records?
A: provided the stylus, record player, and record itself are built to withstand it', '
Q: What is commonly preferred by DJs vinyl or CD?
A: any electronic dance music and hip hop releases today are still preferred on vinyl', '
Q: Had vinyl technology ceased expanding?
A: However, many CDJ and DJ advances, such as DJ software and time-encoded vinyl, now have these capabilities and more.']
In 2014 artist Jack White sold 40,000 copies of his second solo release, Lazaretto, on vinyl. The sales of the record beat the largest sales in one week on vinyl since 1991. The sales record was previously held by Pearl Jam's, Vitalogy, which sold 34,000 copies in one week in 1994. In 2014, the sale of vinyl records was the only physical music medium with increasing sales with relation to the previous year. Sales of other mediums including individual digital tracks, digital albums and compact discs have fallen, the latter having the greatest drop-in-sales rate.

Questions and answers:
['
Q: Whom set the most recent sales record of vinyl records since 1991?
A: Jack White', '
Q: What medium has seen the biggest fall in sales as of late?
A: compact discs', '
Q: What was unique to vinyl sales in 2014?
A: was the only physical music medium with increasing sales with relation to the previous year', '
Q: Who sold 34,000 vinyl records in 1994?
A: Pearl Jam', '
Q: Prior to 2014 when was the most recent large sale of vinyl records?
A: 1991']