romikgosai/squad_modified_2 huggingface dataset:
An in-depth study of MP3 audio quality, sound artist and composer Ryan Maguire's project "The Ghost in the MP3" isolates the sounds lost during MP3 compression. In 2015, he released the track "moDernisT" (an anagram of "Tom's Diner"), composed exclusively from the sounds deleted during MP3 compression of the song "Tom's Diner", the track originally used in the formulation of the MP3 standard. A detailed account of the techniques used to isolate the sounds deleted during MP3 compression, along with the conceptual motivation for the project, was published in the 2014 Proceedings of the International Computer Music Conference.

Q1: What is the name of the study done by composer Ryan Maguire?
A1: The Ghost in the MP3
Q2: What did the study aim to isolate?
A2: sounds lost during MP3 compression
Q3: What is the track "moDernisT" an anagram of?
A3: Tom's Diner
Q4: Where was an account of the study published?
A4: International Computer Music Conference
Q5: Which year was the study published?
A5: 2014
Several bit rates are specified in the MPEG-1 Audio Layer III standard: 32, 40, 48, 56, 64, 80, 96, 112, 128, 160, 192, 224, 256 and 320 kbit/s, with available sampling frequencies of 32, 44.1 and 48 kHz. MPEG-2 Audio Layer III allows bit rates of 8, 16, 24, 32, 40, 48, 56, 64, 80, 96, 112, 128, 144, 160 kbit/s with sampling frequencies of 16, 22.05 and 24 kHz. MPEG-2.5 Audio Layer III is restricted to bit rates of 8, 16, 24, 32, 40, 48, 56 and 64 kbit/s with sampling frequencies of 8, 11.025, and 12 kHz.[citation needed] Because of the Nyquist–Shannon sampling theorem, frequency reproduction is always strictly less than half of the sampling frequency, and imperfect filters requires a larger margin for error (noise level versus sharpness of filter), so 8 kHz sampling rate limits the maximum frequency to 4 kHz, while 48 kHz maximum sampling rate limits an MP3 to 24 kHz sound reproduction.

Q1: What is the name of the sampling theorem?
A1: Nyquist–Shannon
Q2: In relation to the sampling frequency, the frequency reproduction is strictly how much less?
A2: less than half
Q3: Having an 8 kHz sampling rate would limit the maximum frequency to how much?
A3: 4 kHz
Q4: What kind of filter requires a larger margin for error?
A4: imperfect filters
Q5: A sound reproduction of 24 kHz would represent which value of a maximum sampling rate?
A5: 48
A sample rate of 44.1 kHz is almost always used, because this is also used for CD audio, the main source used for creating MP3 files. A greater variety of bit rates are used on the Internet. The rate of 128 kbit/s is commonly used, at a compression ratio of 11:1, offering adequate audio quality in a relatively small space. As Internet bandwidth availability and hard drive sizes have increased, higher bit rates up to 320 kbit/s are widespread.

Q1: What sampling rate is used for CD audio?
A1: 44.1 kHz
Q2: What is the main source used for creating MP3 files?
A2: CD audio
Q3: Where can one find a greater variety of bit rates?
A3: the Internet
Q4: The common bit rate on the internet is 128 kbit/s using which compression ratio?
A4: 11:1
Q5: As technology advances, what is another higher bit rate that is beginning to spread?
A5: 320 kbit/s
Uncompressed audio as stored on an audio-CD has a bit rate of 1,411.2 kbit/s, (16 bit/sample × 44100 samples/second × 2 channels / 1000 bits/kilobit), so the bitrates 128, 160 and 192 kbit/s represent compression ratios of approximately 11:1, 9:1 and 7:1 respectively.

Q1: What is stored on an audio-CD that has a bit rate of 1,411.2 kbit/s?
A1: Uncompressed audio
Q2: What does a bit rate of 128 represent in terms of compression ratio?
A2: 11:1
Q3: What would a bit rate of 160 correspond to in terms of compression ratio?
A3: 9:1
Q4: What would a bit rate of 192 kbit/s have for a compression ratio?
A4: 7:1
Non-standard bit rates up to 640 kbit/s can be achieved with the LAME encoder and the freeformat option, although few MP3 players can play those files. According to the ISO standard, decoders are only required to be able to decode streams up to 320 kbit/s.

Q1: The LAME encoder allows bit rates that are what?
A1: Non-standard
Q2: Even though few MP3 players can play it, LAME also offers which option?
A2: freeformat
Q3: What is the highest bit rate the LAME encoder allows?
A3: 640 kbit/s
Q4: The ISO standard dictates that decoders only need to be able to decode streams that have how high of a bit rate?
A4: 320
Early MPEG Layer III encoders used what is now called Constant Bit Rate (CBR). The software was only able to use a uniform bitrate on all frames in an MP3 file. Later more sophisticated MP3 encoders were able to use the bit reservoir to target an average bit rate selecting the encoding rate for each frame based on the complexity of the sound in that portion of the recording.

Q1: What does the term CBR mean?
A1: Constant Bit Rate
Q2: Which early MPEG layer used CBR?
A2: Layer III
Q3: The early software was restricted to which kind of bitrate?
A3: uniform
Q4: What did more sophisticated MP3 encoders use to target an average bit rate?
A4: bit reservoir
Q5: What did encoders base the encoding rate for each frame on?
A5: the complexity of the sound
A more sophisticated MP3 encoder can produce variable bitrate audio. MPEG audio may use bitrate switching on a per-frame basis, but only layer III decoders must support it. VBR is used when the goal is to achieve a fixed level of quality. The final file size of a VBR encoding is less predictable than with constant bitrate. Average bitrate is VBR implemented as a compromise between the two: the bitrate is allowed to vary for more consistent quality, but is controlled to remain near an average value chosen by the user, for predictable file sizes. Although an MP3 decoder must support VBR to be standards compliant, historically some decoders have bugs with VBR decoding, particularly before VBR encoders became widespread.

Q1: What kind of audio can a sophisticated MP3 encoder produce?
A1: variable bitrate audio
Q2: Which type of decoder must support bitrate switching on a per-frame basis?
A2: layer III
Q3: What do encoders use when the goal is to achieve a fixed level of quality?
A3: VBR
Q4: Using VBR instead of a constant bit rate encoding makes which part of encoding less predictable?
A4: final file size
Q5: An average bit rate is used when who choses an average value for the encoder to use?
A5: the user
Layer III audio can also use a "bit reservoir", a partially full frame's ability to hold part of the next frame's audio data, allowing temporary changes in effective bitrate, even in a constant bitrate stream. Internal handling of the bit reservoir increases encoding delay.[citation needed]

Q1: A partially full frame's ability to have part of the next frame's audio data is referred to as what?
A1: bit reservoir
Q2: What kind of audio is required to use a bit reservoir?
A2: Layer III
Q3: What is a possible result of handling the bit reservoir?
A3: encoding delay
Q4: A bit reservoir allows for what kind of changes in effective bit rate?
A4: temporary
Q5: A large benefit of a bit reservoir is that you can use it even while encoding what kind of stream?
A5: constant bitrate
There is no scale factor band 21 (sfb21) for frequencies above approx 16 kHz, forcing the encoder to choose between less accurate representation in band 21 or less efficient storage in all bands below band 21, the latter resulting in wasted bitrate in VBR encoding.

Q1: What can scale factor band 21 be shortened to?
A1: sfb21
Q2: What is the maximum frequency that scale factor band 21 can go up to?
A2: 16 kHz
Q3: The encoder has to choose between less acurate representation in band 21 or which factor in all bands below band 21?
A3: less efficient storage
Q4: What does less efficient storage result in for VBR encoding?
A4: wasted bitrate
A "tag" in an audio file is a section of the file that contains metadata such as the title, artist, album, track number or other information about the file's contents. The MP3 standards do not define tag formats for MP3 files, nor is there a standard container format that would support metadata and obviate the need for tags.

Q1: What is a section of a file that contains metadeta referred to as?
A1: tag
Q2: What else can metadeta contain other than the title, artist or track  number?
A2: album
Q3: What do MP3 standards not define?
A3: tag formats for MP3 files
Q4: What would be needed to support metadata and obviate the need for tags?
A4: a standard container format
However, several de facto standards for tag formats exist. As of 2010, the most widespread are ID3v1 and ID3v2, and the more recently introduced APEv2. These tags are normally embedded at the beginning or end of MP3 files, separate from the actual MP3 frame data. MP3 decoders either extract information from the tags, or just treat them as ignorable, non-MP3 junk data.

Q1: Other than the ID3v1, which similar standard format for tag exists?
A1: ID3v2
Q2: What is the most recently introduced standard for tag formatting?
A2: APEv2
Q3: What is the second place in a file that tags are normally stored, with the first being at the beginning?
A3: end
Q4: What is important to note about where the tags are stored?
A4: separate from the actual MP3 frame data
Q5: If the MP3 decoders do not extract information from the tags, what do they do to them?
A5: treat them as ignorable, non-MP3 junk data
ReplayGain is a standard for measuring and storing the loudness of an MP3 file (audio normalization) in its metadata tag, enabling a ReplayGain-compliant player to automatically adjust the overall playback volume for each file. MP3Gain may be used to reversibly modify files based on ReplayGain measurements so that adjusted playback can be achieved on players without ReplayGain capability.

Q1: What is the name given to the standard for measure and storing the loudness of an MP3 file?
A1: ReplayGain
Q2: What is measuring and storing loudness of an MP3 file also known as?
A2: audio normalization
Q3: What does the standard ReplayGain allow a player to automatically adjust?
A3: the overall playback volume
Q4: What program can be used to modify files based on ReplayGain measurements?
A4: MP3Gain
Q5: MP3Gain is important because it allows players without what capability to have adjusted playback?
A5: ReplayGain capability
The basic MP3 decoding and encoding technology is patent-free in the European Union, all patents having expired there. In the United States, the technology will be substantially patent-free on 31 December 2017 (see below). The majority of MP3 patents expired in the US between 2007 and 2015.

Q1: Where is the basic MP3 decoding and technology patent free?
A1: European Union
Q2: What happened to the patents that caused them to be patent-free?
A2: expired
Q3: When will the technology be patent - free in the United States?
A3: 31 December 2017
Q4: Between which years did most of the MP3 patents in the US expire?
A4: 2007 and 2015
In the past, many organizations have claimed ownership of patents related to MP3 decoding or encoding. These claims led to a number of legal threats and actions from a variety of sources. As a result, uncertainty about which patents must be licensed in order to create MP3 products without committing patent infringement in countries that allow software patents was a common feature of the early stages of adoption of the technology.

Q1: What has many organizations claiming ownership of patents related to aspects of MP3 led to?
A1: legal threats
Q2: Legal threats and confusion made it difficult to ensure what about patents regarding MP3 products?
A2: which patents must be licensed
Q3: What was the danger of not correctly patenting products?
A3: patent infringement
Q4: At what stage of the technology were these problems prevalent?
A4: early stages
The initial near-complete MPEG-1 standard (parts 1, 2 and 3) was publicly available on 6 December 1991 as ISO CD 11172. In most countries, patents cannot be filed after prior art has been made public, and patents expire 20 years after the initial filing date, which can be up to 12 months later for filings in other countries. As a result, patents required to implement MP3 expired in most countries by December 2012, 21 years after the publication of ISO CD 11172.

Q1: What became publicly available on 6 December 1991?
A1: MPEG-1 standard
Q2: When can patents not be filed in most countries?
A2: after prior art has been made public
Q3: How long does it take for patents to expire after being filed?
A3: 20 years
Q4: How long can it take for patents to be approved after initially being filed?
A4: 12 months
Q5: When did patents required to implement MP3 expire in most countries?
A5: December 2012
An exception is the United States, where patents filed prior to 8 June 1995 expire 17 years after the publication date of the patent, but application extensions make it possible for a patent to issue much later than normally expected (see submarine patents). The various MP3-related patents expire on dates ranging from 2007 to 2017 in the U.S. Patents filed for anything disclosed in ISO CD 11172 a year or more after its publication are questionable. If only the known MP3 patents filed by December 1992 are considered, then MP3 decoding has been patent-free in the US since 22 September 2015 when U.S. Patent 5,812,672 expired which had a PCT filing in October 1992. If the longest-running patent mentioned in the aforementioned references is taken as a measure, then the MP3 technology will be patent-free in the United States on 30 December 2017 when U.S. Patent 5,703,999, held by the Fraunhofer-Gesellschaft and administered by Technicolor, expires.

Q1: How long does it take for patents to expire in the United States?
A1: 17 years after the publication date
Q2: A patent issue much later than normally expected can be referred to as what?
A2: submarine patents
Q3: What year is the latest that MP3 related patents will expire on in the United States?
A3: 2017
Q4: Who holds the longest running MP3 patent in the United States?
A4: Fraunhofer-Gesellschaft
Q5: Who administered the longest running MP3 patent in the United States?
A5: Technicolor
Technicolor (formerly called Thomson Consumer Electronics) claims to control MP3 licensing of the Layer 3 patents in many countries, including the United States, Japan, Canada and EU countries. Technicolor has been actively enforcing these patents.

Q1: What was Technicolor's previous name?
A1: Thomson Consumer Electronics
Q2: What patent does Technicolor claim to control?
A2: Layer 3
Q3: What are Technicolor constantly in the process of doing?
A3: actively enforcing these patents
In September 1998, the Fraunhofer Institute sent a letter to several developers of MP3 software stating that a license was required to "distribute and/or sell decoders and/or encoders". The letter claimed that unlicensed products "infringe the patent rights of Fraunhofer and Thomson. To make, sell and/or distribute products using the [MPEG Layer-3] standard and thus our patents, you need to obtain a license under these patents from us."

Q1: When did the Fraunhofer institute send out a letter?
A1: September 1998
Q2: What did the letter claim would be required to distribute and/or sell decoders and/or encoders?
A2: a license
Q3: What does selling unlicensed products mean that the seller is doing?
A3: infringe the patent rights of Fraunhofer and Thomson
Q4: What can products not use if they want to avoid infringing on patent rights?
A4: the [MPEG Layer-3] standard
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.

Q1: Who was sued for patent infringement on MP3 technology?
A1: Thomson
Q2: Who initially sued to protect their patent rights?
A2: Sisvel S.p.A.
Q3: What did Sisvel grant Thomson to end the lawsuit?
A3: a license to their patents
Q4: When did the majority of the patents held by Sisvel expire?
A4: 2015
Q5: When does the last patent held by Sisvel expire?
A5: 9. April 2017
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.

Q1: What did German officials seize from SanDisk on September 2006?
A1: MP3 players
Q2: At which show did SanDisk have their assets seized?
A2: IFA
Q3: Which company was the Italian patents firm representing?
A3: Sisvel
Q4: What happened after the injunction was successful?
A4: The injunction was later reversed
Q5: The continuous back and forth regarding the decisions on patents was referred to as what?
A5: bringing the Patent Wild West to Germany
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.

Q1: Who sued Apple, Samsung Electronics and Sandisk in 2007?
A1: Texas MP3 Technologies
Q2: Which court did the lawsuit take place in?
A2: eastern Texas federal court
Q3: What action did the three companies being sued take?
A3: all settled the claims against them
Q4: What year did the lawsuits end?
A4: 2009
Q5: What was the claim that the lawsuit was based on?
A5: infringement of a portable MP3 player patent
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.

Q1: Which company allegedly inherited MP3 patents from AT&T-Bell LAbs?
A1: Alcatel-Lucent
Q2: What kind of patents were allegedly inherited?
A2: MP3 coding and compression
Q3: How many patents did Alcatel claim Microsoft infringed on?
A3: seven
Q4: What subsequently happened after Alcatel was awarded damages?
A4: The court subsequently tossed the award
Q5: How much money was awarded to Alcatel by a San Diego jury?
A5: US $1.52 billion
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.

Q1: AAC, mp3PRO and MP2 are all members of the same technological family as which other lossy format?
A1: MP3
Q2: What model type do all of the lossy formats roughly depend on?
A2: psychoacoustic
Q3: Which company owns many of the patents that cover the other formats?
A3: Fraunhofer Gesellschaft
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.

Q1: Opus and Vorbis are two explans of what kind of compression format?
A1: open
Q2: Being open formats means that Opus and Vorbis can be used without what?
A2: any known patent restrictions
Q3: What are some benefits to some of the newer audio compression formats when compared to MP3?
A3: free of some limitations inherent to the MP3 format
Q4: How can one obtain an open compression format such as Opus or Vorbis?
A4: available free of charge
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.

Q1: What is a significant alternative to MP3?
A1: lossless formats
Q2: What can lossless formats provide?
A2: unaltered audio content
Q3: What is the downside of using a lossless format?
A3: increased file size
Q4: What is another example of a lossless format other than Apple Lossless?
A4: FLAC
Q5: What does FLAC stand for?
A5: Free Lossless Audio Codec
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.

Q1: What city did House music originate from?
A1: Chicago
Q2: What decade did House music first develop?
A2: 1980s
Q3: What year was House music first popularized?
A3: 1984
Q4: What genre does House music fall into?
A4: electronic dance music
Q5: What song by MARRS was an early House hit in 1987?
A5: "Pump Up The Volume"
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.

Q1: House music is characterized by what type of beats?
A1: 4/4 beats
Q2: What are some subgenres of House music?
A2: euro house, tech house, electro house and jump house
Q3: What are rhythms provided by in House music?
A3: drum machines
Q4: What are some differences between House and Disco music?
A4: it was more electronic and minimalistic
Q5: What type of music is House based on?
A5: dance-based music