wanyu/IteraTeR_full_sent huggingface dataset:
Original:  With their plan to destroy the Maximals thwarted, Megatron, Terrorsaur , and Scorponok returned to their base  which proved to play a significant part of the demise of Terrorsaur and Scorponok when their base was hit by the Quantum Surge .
Revised:  With their plan to destroy the Maximals thwarted, Megatron, Terrorsaur and Scorponok returned to their base which proved to play a significant part of the demise of Terrorsaur and Scorponok when their base was hit by the Quantum Surge .
Edit intent: fluency
Original:  With their plan to destroy the Maximals thwarted, Megatron, Terrorsaur , and Scorponok returned to their base  which proved to play a significant part of the demise of Terrorsaur and Scorponok when their base was hit by the Quantum Surge .
Revised:  With their plan to destroy the Maximals thwarted, Megatron, Terrorsaur , and Scorponok returned to their base , which proved to play a significant part of the demise of Terrorsaur and Scorponok when their base was hit by the Quantum Surge .
Edit intent: fluency
Original:  With their plan to destroy the Maximals thwarted, Megatron, Terrorsaur , and Scorponok returned to their base  which proved to play a significant part of the demise of Terrorsaur and Scorponok when their base was hit by the Quantum Surge .
Revised:  With their plan to destroy the Maximals thwarted, Megatron, Terrorsaur , and Scorponok returned to their base which proved to play a significant role in the demise of Terrorsaur and Scorponok when their base was hit by the Quantum Surge .
Edit intent: fluency
Original:  With their plan to destroy the Maximals thwarted, Megatron, Terrorsaur , and Scorponok returned to their base  which proved to play a significant part of the demise of Terrorsaur and Scorponok when their base was hit by the Quantum Surge .
Revised:  With their plan to destroy the Maximals thwarted, Megatron, Terrorsaur , and Scorponok returned to their base which proved to play a significant part of the demise of Terrorsaur and Scorponok when their base was hit by the quantum surge .
Edit intent: fluency
Original:  According to his biography published in the Beast Wars Sourcebook  Scorponok actually survived the events of season 2 and was turned into a transmetal scorpion, but he remained trapped in the magma, unable to escape until after Megatron was defeated and the Maximals left with him for Cybertron.
Revised:  According to his biography published in the Beast Wars Sourcebook , Scorponok actually survived the events of season 2 and was turned into a transmetal scorpion, but he remained trapped in the magma, unable to escape until after Megatron was defeated and the Maximals left with him for Cybertron.
Edit intent: fluency
Original:  According to his biography published in the Beast Wars Sourcebook  Scorponok actually survived the events of season 2 and was turned into a transmetal scorpion, but he remained trapped in the magma, unable to escape until after Megatron was defeated and the Maximals left with him for Cybertron.
Revised:  According to his biography published in the Beast Wars Sourcebook Scorponok actually survived the events of season two and was turned into a transmetal scorpion, but he remained trapped in the magma, unable to escape until after Megatron was defeated and the Maximals left with him for Cybertron.
Edit intent: fluency
Original: %DIFDELCMD < %DIFDELCMD < %%% The term high-end audio refers to playback equipment used by audiophiles, which may be bought at specialist shops and websites. High-end components include turntables, digital-to-analog converters, equalization devices, preamplifiers and amplifiers (both solid-state and vacuum tube), loudspeakers (including horn, electrostatic and magnetostatic speakers), power conditioners, subwoofers, headphones, and acoustic room treatment in addition to room correction devices.
Revised: %DIFDELCMD < %DIFDELCMD < %%% 
Edit intent: coherence
Original:  Signal cables (analog audio, speaker, digital audio etc.) are used to link these components. There are also a variety of accessories, including equipment racks, power conditioners, devices to reduce or control vibration, record cleaners, anti-static devices, phonograph needle cleaners, reverberation reducing devices such as speaker pads and stands, sound absorbent foam, and soundproofing.
Revised:  For music storage, digital formats offer an absence of clicks, pops, wow, flutter, acoustic feedback, and rumble, compared to vinyl records. Depending on the format, digital can also have a higher signal-to-noise ratio, a wider dynamic range, less total harmonic distortion, and a flatter and more extended frequency response. Despite this, vinyl records remain popular, and discussion about the relative merits of analog and digital sound continues (see Analog sound vs. digital sound). (Note that vinyl records may be mastered differently from their digital versions.)
Edit intent: meaning-changed
Original:  The interaction between the loudspeakers and the room (room acoustics) plays an important part in sound quality. Sound vibrations are reflected from walls, floor and ceiling, and are affected by the contents of the room. Room dimensions can create standing waves at particular (usually low) frequencies. There are devices and materials for room treatment that affect sound quality. Soft materials, such as draperies and carpets, can absorb higher frequencies, whereas hard walls and floors can cause excess reverberation.
Edit intent: coherence
Original:  Sound sources Audiophiles play music from a variety of sources including phonograph records, compact discs (CDs), and digital audio files that are either uncompressed or are losslessly compressed, such as FLAC, DSD, Windows Media Audio 9 Lossless and Apple Lossless (ALAC), in contrast to lossy compression, such as in MP3 encoding. From the early 1990s, CDs were the most common source of high-quality music. Nevertheless, turntables, tonearms, and magnetic cartridges are still used, despite the difficulties of keeping records free from dust and the delicate set-up associated with turntables.
Edit intent: coherence
Original: %DIFDELCMD < %DIFDELCMD < %%% The 44.1 kHz sampling rate of the CD format, in theory, restricts CD information losses to above the theoretical upper-frequency limit of human hearing – 20 kHz, see Nyquist limit. Nonetheless, newer formats such as FLAC, ALAC, DVD-Audio and Super Audio Compact Disc (SACD) have sampling rates of 88.2 kHz, 96 kHz or even 192 kHz.
Revised: %DIFDELCMD < %DIFDELCMD < %%% 
Edit intent: coherence
Original:  Some higher-definition consumer formats such as HDCD-encoded CDs, DVD-Audio, and SA-CD contain 20-bit , 24-bit and even 32-bit audio streams. With more bits more dynamic range is possible; 20 bit dynamic range is theoretically 120 dB—the limit of most consumer electronic playback equipment.
Revised:  Some higher-definition consumer formats such as HDCD-encoded CDs, DVD-Audio, and SA-CD contain 20-bit , 
Edit intent: clarity
Original:  SACDs and DVD-Audio have up to 5.1 to 6.1 surround sound . Although both high-res optical formats have failed, there has been a resurgence in high-res digital files. SACD can be stored as a DSD file, and DVD-Audio can be stored as a FLAC or ALAC file. FLAC is the most widely used digital format for high-res with up to 8 channels and a maximum depth of 32 bit, and 655,350 Hz sampling rate.Uncompressed formats such as WAV and AIFF files can store audio CDs with no compression.
Edit intent: meaning-changed
Original: %DIFDELCMD < %DIFDELCMD < %%% Amplifiers A preamplifier selects among several audio inputs, amplifies source-level signals (such as those from a turntable) , and allows the listener to adjust the sound with volume and tone controls. Many audiophile-oriented preamplifiers lack tone controls. A power amplifier takes the "line-level" audio signal from the preamplifier and drives the loudspeakers. An integrated amplifier combines the functions of power amplification with input switching and volume and tone control. Both pre/power combinations and integrated amplifiers are widely used by audiophiles.
Revised: %DIFDELCMD < %DIFDELCMD < %%% 
Edit intent: clarity
Original:  Audiophile amplifiers are available based on solid-state (semiconductor) technology, vacuum-tube (valve) technology, or hybrid technology—semiconductors and vacuum tubes .
Revised:  Audiophile amplifiers are available based on solid-state (semiconductor) technology, vacuum-tube electronics remain popular, despite most other applications having since abandoned tubes for solid state amplifiers. Also vacuum-tube amplifiers often have higher total harmonic distortion, require rebiasing, are less reliable, generate more heat, are less powerful, and cost more. There is also continuing debate about the proper use of negative feedback in amplifier design .
Edit intent: meaning-changed
Original: %DIFDELCMD < %DIFDELCMD < %%% The direction and intensity of the output of a loudspeaker, called dispersion or polar response, has a large effect on its sound. Various methods are employed to control the dispersion. These methods include monopolar, bipolar, dipolar, 360-degree, horn, waveguide, and line source. These terms refer to the configuration and arrangement of the various drivers in the enclosure.
Revised: %DIFDELCMD < %DIFDELCMD < %%% There is substantial controversy on the various drivers in the enclosure.
Edit intent: clarity
Original: %DIFDELCMD < %DIFDELCMD < %%% Accessories Audiophiles use a wide variety of accessories and fine-tuning techniques, sometimes referred to as "tweaks", to improve the sound of their systems. These include power conditioner filters to "clean" the electricity, equipment racks to isolate components from floor vibrations, specialty power and audio cables, loudspeaker stands (and footers to isolate speakers from stands), and room treatments.
Revised: %DIFDELCMD < %DIFDELCMD < %%% 
Edit intent: coherence
Original: %DIFDELCMD < %DIFDELCMD < %%% Headphones Headphones are regularly used by audiophiles. These products can be remarkably expensive, some over $10,000, but in general are much cheaper than comparable speaker systems. They have the advantage of not requiring room treatment, and being usable without requiring others to listen at the same time. Newer canalphones can be driven by the less powerful outputs found on portable music players. Design variety For music storage, digital formats offer an absence of clicks, pops, wow, flutter, acoustic feedback, and rumble, compared to vinyl records. Depending on the format, digital can also have a higher signal-to-noise ratio, a wider dynamic range, less total harmonic distortion, and a flatter and more extended frequency response. Despite this, vinyl records remain popular, and discussion about the relative merits of analog and digital sound continues (see Analog sound vs. digital sound). (Note that vinyl records may be mastered differently from their digital versions.) In the amplification stage, vacuum-tube electronics remain popular, despite most other applications having since abandoned tubes for solid state amplifiers. Also vacuum-tube amplifiers often have higher total harmonic distortion, require rebiasing, are less reliable, generate more heat, are less powerful, and cost more. There is also continuing debate about the proper use of negative feedback in amplifier design. Controversies There is substantial controversy on the subject of audiophile components; many have asserted that the occasionally high cost produces no measurable improvement in audio reproduction. For example, skeptic James Randi, through his foundation One Million Dollar Paranormal Challenge, has offered a prize of $1 million to anyone who can demonstrate that 7,250 audio cables "are any better than ordinary audio cables".
Revised: %DIFDELCMD < %DIFDELCMD < %%% Headphones subject of audiophile components; many have asserted that the occasionally high cost produces no measurable improvement in audio reproduction. For example, skeptic James Randi, through his foundation One Million Dollar Paranormal Challenge, has offered a prize of $1 million to anyone who can demonstrate that $ 7,250 audio cables "are any better than ordinary audio cables".
Edit intent: meaning-changed
Original:  Although many audiophile techniques are based on objective criteria that can be verified using techniques like ABX testing, perceived sound quality is necessarily subjective, leading to some more controversial audiophile techniques being based on pseudoscientific, magical or paranormal principles .
Revised:  220$ and that even the best-regarded recording and playback systems rarely, if ever, achieve it without the 6xx URL |title=Audio Research Reference 150 power amplifier |magazine=Stereophile |first=Erick |last=Lichte |date=2 July 2012 .
Edit intent: meaning-changed
Original:  This attribute made the difference between "good, very good, and 'Eames'." Ray Eames did not do drawings, but she documented and kept track of everything that was worked on in the Eames Office.
Revised:  Her sense made the difference between "good, very good, and 'Eames'." Ray Eames did not do drawings, but she documented and kept track of everything that was worked on in the Eames Office.
Edit intent: clarity
Original:  This attribute made the difference between "good, very good, and 'Eames'." Ray Eames did not do drawings, but she documented and kept track of everything that was worked on in the Eames Office.
Revised:  This attribute made the difference between "good, very good, and 'Eames'." Ray Eames did not make drawings, but she documented and kept track of everything that was worked on in the Eames Office.
Edit intent: clarity
Original:  This attribute made the difference between "good, very good, and 'Eames'." Ray Eames did not do drawings, but she documented and kept track of everything that was worked on in the Eames Office.
Revised:  This attribute made the difference between "good, very good, and 'Eames'." Ray Eames did not do drawings, but she documented and tracked all projects in the Eames Office.
Edit intent: clarity
Original:  Ray Eames's early background in fashion design proved useful for this project, as the design for the splint 's form resembled a clothing pattern with a system of darts to contour the plywood to the shape of a soldier's leg.
Revised:  Ray Eames's early background in fashion design proved useful for this project, as the the splint resembled a clothing pattern with a system of darts to contour the plywood to the shape of a soldier's leg.
Edit intent: clarity
Original:  The splint funding allowed for Charles and Ray to expand their production and experimentation of creating furniture with plywood . 231x231px|Leg Splint, designed for the Navy during WWII The Eameses’ splint, specifically how it utilized bent plywood , was a significant breakthrough for their trademark design.
Revised:  The splint profits allowed Charles and Ray to expand their production and experimentation of creating furniture with plywood . 231x231px|Leg Splint, designed for the Navy during WWII The Eameses’ splint, specifically how it utilized bent plywood , was a significant breakthrough for their trademark design.
Edit intent: clarity
Original:  The splint funding allowed for Charles and Ray to expand their production and experimentation of creating furniture with plywood . 231x231px|Leg Splint, designed for the Navy during WWII The Eameses’ splint, specifically how it utilized bent plywood , was a significant breakthrough for their trademark design.
Revised:  The splint funding allowed for Charles and Ray to expand their production and experiment with plywood furniture creations . 231x231px|Leg Splint, designed for the Navy during WWII The Eameses’ splint, specifically how it utilized bent plywood , was a significant breakthrough for their trademark design.
Edit intent: clarity
Original:  The splint funding allowed for Charles and Ray to expand their production and experimentation of creating furniture with plywood . 231x231px|Leg Splint, designed for the Navy during WWII The Eameses’ splint, specifically how it utilized bent plywood , was a significant breakthrough for their trademark design.
Revised:  The splint funding allowed for Charles and Ray to expand their production and experimentation of creating furniture with plywood . 231x231px|Leg Splint, designed for the Navy during WWII The Eames splint's use of bent plywood was a significant breakthrough for their trademark design.
Edit intent: coherence
Original:  They would use the same bent plywood in later seminal chairs, such as the Lounge Chair Wood (LCW) and the Eames Lounge Chair. 237x237px|Lounge Chair Wood (LCW) Notable Furniture The following sections provide brief explanations for a few of the Eameses most notable pieces of furniture . Ray and Charles Eames worked together to create these objects.
Revised:  They would use the same bent plywood later in the seminal Lounge Chair Wood (LCW) and the Eames Lounge Chair. 237x237px|Lounge Chair Wood (LCW) Notable Furniture The following sections provide brief explanations for a few of the Eameses most notable pieces of furniture . Ray and Charles Eames worked together to create these objects.
Edit intent: clarity
Original:  They would use the same bent plywood in later seminal chairs, such as the Lounge Chair Wood (LCW) and the Eames Lounge Chair. 237x237px|Lounge Chair Wood (LCW) Notable Furniture The following sections provide brief explanations for a few of the Eameses most notable pieces of furniture . Ray and Charles Eames worked together to create these objects.
Revised:  They would use the same bent plywood in later seminal chairs, such as the Lounge Chair Wood (LCW) and the Eames Lounge Chair. 237x237px|Lounge Chair Wood (LCW) Popular furniture Ray and Charles Eames worked together to create these objects.
Edit intent: clarity
Original:  They would use the same bent plywood in later seminal chairs, such as the Lounge Chair Wood (LCW) and the Eames Lounge Chair. 237x237px|Lounge Chair Wood (LCW) Notable Furniture The following sections provide brief explanations for a few of the Eameses most notable pieces of furniture . Ray and Charles Eames worked together to create these objects.
Revised:  They would use the same bent plywood in later seminal chairs, such as the Lounge Chair Wood (LCW) and the Eames Lounge Chair. 237x237px|Lounge Chair Wood (LCW) Notable Furniture The following sections provide brief explanations for a few of the Eameses most notable pieces of furniture . Ray and Charles Eames worked together to create their most popular furniture:
Edit intent: clarity
Original:  Lounge Chair Wood (LCW) Charles Eames, Ray Eames, and Eero Saarinen applied what they learned about plywood from making their Navy splints to chair-making.
Revised:  Lounge Chair Wood (LCW) Charles Eames, Ray Eames, and Eero Saarinen applied their knowledge of plywood gained from making their Navy splints to chair-making.
Edit intent: clarity
Original:  Shell Chair The Eames Fiberglass Shell Chair was first available for purchase in 1950. It had been created in 1948 for the Museum of Modern Art’s “International Competition for Low-Cost Furniture Design.”
Revised:  Shell Chair The Eames Fiberglass Shell Chair was first sold in 1950 after having been created in 1948 for the Museum of Modern Art’s “International Competition for Low-Cost Furniture Design.”
Edit intent: clarity
Original:  The whole seat being made of plastic  was a wholly novel creation, and the chairs were also made in distinctive colors , especially for the era The very first shell chairs were released in three colors—Parchment, Greige, and Elephant Grey Hide.
Revised:  With the entire seat made of plastic was a wholly novel creation, and the chairs were also made in distinctive colors , especially for the era The very first shell chairs were released in three colors—Parchment, Greige, and Elephant Grey Hide.
Edit intent: coherence
Original:  The whole seat being made of plastic  was a wholly novel creation, and the chairs were also made in distinctive colors , especially for the era The very first shell chairs were released in three colors—Parchment, Greige, and Elephant Grey Hide.
Revised:  The whole seat being made of plastic , it was a wholly novel creation, and the chairs were also made in distinctive colors , especially for the era The very first shell chairs were released in three colors—Parchment, Greige, and Elephant Grey Hide.
Edit intent: coherence
Original:  The whole seat being made of plastic  was a wholly novel creation, and the chairs were also made in distinctive colors , especially for the era The very first shell chairs were released in three colors—Parchment, Greige, and Elephant Grey Hide.
Revised:  The whole seat being made of plastic was a wholly novel creation, and the chairs were made in distinctive colors , especially for the era The very first shell chairs were released in three colors—Parchment, Greige, and Elephant Grey Hide.
Edit intent: coherence
Original:  The whole seat being made of plastic  was a wholly novel creation, and the chairs were also made in distinctive colors , especially for the era The very first shell chairs were released in three colors—Parchment, Greige, and Elephant Grey Hide.
Revised:  The whole seat being made of plastic was a wholly novel creation, and the chairs were also made in distinctive colors for the time The very first shell chairs were released in three colors—Parchment, Greige, and Elephant Grey Hide.
Edit intent: clarity
Original:  The whole seat being made of plastic  was a wholly novel creation, and the chairs were also made in distinctive colors , especially for the era The very first shell chairs were released in three colors—Parchment, Greige, and Elephant Grey Hide.
Revised:  The whole seat being made of plastic was a wholly novel creation, and the chairs were also made in distinctive colors , especially for the era The first shell chairs were released in three colors—Parchment, Greige, and Elephant Grey Hide.
Edit intent: coherence
Original:  For example, the New York Times wrote in 2015 that “By the mid-1950s, the Eameses had become as indispensable to the American computer company I.B.M. as they were to Herman Miller,” the company which produced Eames furniture . Ray and Charles believed that design was “a way of life,” and they applied that belief to everything they did.
Revised:  The New York Times wrote in 2015 that “By the mid-1950s, the Eameses had become as indispensable to the American computer company I.B.M. as they were to Herman Miller,” the company which produced Eames furniture . Ray and Charles believed that design was “a way of life,” and they applied that belief to everything they did.
Edit intent: coherence
Original:  For example, the New York Times wrote in 2015 that “By the mid-1950s, the Eameses had become as indispensable to the American computer company I.B.M. as they were to Herman Miller,” the company which produced Eames furniture . Ray and Charles believed that design was “a way of life,” and they applied that belief to everything they did.
Revised:  For example, the New York Times wrote in 2015 that “By the mid-1950s, the Eameses had become as indispensable to the American computer company IBM as they were to Herman Miller,” the company which produced Eames furniture . Ray and Charles believed that design was “a way of life,” and they applied that belief to everything they did.
Edit intent: clarity
Original:  For example, the New York Times wrote in 2015 that “By the mid-1950s, the Eameses had become as indispensable to the American computer company I.B.M. as they were to Herman Miller,” the company which produced Eames furniture . Ray and Charles believed that design was “a way of life,” and they applied that belief to everything they did.
Revised:  For example, the New York Times wrote in 2015 that “By the mid-1950s, the Eameses had become as indispensable to the American computer company I.B.M. as they were to Herman Miller,” the Eames furniture manufacturer . Ray and Charles believed that design was “a way of life,” and they applied that belief to everything they did.
Edit intent: clarity