yz2022/T2P-DownstreamNLP huggingface dataset:
Gramophone_record

During the first half of the 1920s, engineers at Western Electric, as well as independent inventors such as Orlando Marsh, developed technology for capturing sound with a microphone, amplifying it with vacuum tubes, then using the amplified signal to drive an electromagnetic recording head. Western Electric's innovations resulted in a greatly expanded and more even frequency response, creating a dramatically fuller, clearer and more natural-sounding recording. Distant or less strong sounds that were impossible to record by the old methods could now be captured. Volume was now limited only by the groove spacing on the record and the limitations of the intended playback device. Victor and Columbia licensed the new electrical system from Western Electric and began issuing electrically recorded discs in 1925. The first classical recording was of Chopin impromptus and Schubert's Litanei by Alfred Cortot for Victor.

Question: What was an early took used to amplify sounds?
Answer: vacuum tubes

Question: What company was vital in progression of quality sound recordings?
Answer: Western Electric

Question: How early were electrically recorded discs made available for purchase?
Answer: 1925

Question: What was new about the way Western Electrics method of capturing sound?
Answer: microphone

Question: How could the sounds produced by Western Electric be described?
Answer: fuller, clearer and more natural
Textual_criticism

By 1979, with the establishment of the Foundation for Ancient Research and Mormon Studies (FARMS) as a California non-profit research institution, an effort led by Robert F. Smith began to take full account of Larson’s work and to publish a Critical Text of the Book of Mormon. Thus was born the FARMS Critical Text Project which published the first volume of the 3-volume Book of Mormon Critical Text in 1984. The third volume of that first edition was published in 1987, but was already being superseded by a second, revised edition of the entire work, greatly aided through the advice and assistance of then Yale doctoral candidate Grant Hardy, Dr. Gordon C. Thomasson, Professor John W. Welch (the head of FARMS), Professor Royal Skousen, and others too numerous to mention here. However, these were merely preliminary steps to a far more exacting and all-encompassing project.

Question: What is FARMS?
Answer: Foundation for Ancient Research and Mormon Studies

Question: How many years did it take to publish all three volumes of the Book of Mormon Critical Text?
Answer: the first volume of the 3-volume Book of Mormon Critical Text in 1984. The third volume of that first edition was published in 1987
Gramophone_record

Lateral-cut disc records were developed in the United States by Emile Berliner, who named his system the "gramophone", distinguishing it from Edison's wax cylinder "phonograph" and Columbia's wax cylinder "graphophone". Berliner's earliest discs, first marketed in 1889, but only in Europe, were 5 inches (13 cm) in diameter, and were played with a small hand-propelled machine. Both the records and the machine were adequate only for use as a toy or curiosity, due to the limited sound quality. In the United States in 1894, under the Berliner Gramophone trademark, Berliner started marketing records with somewhat more substantial entertainment value, along with somewhat more substantial gramophones to play them. Berliner's records had poor sound quality compared to wax cylinders, but his manufacturing associate Eldridge R. Johnson eventually improved the sound quality. Abandoning Berliner's "Gramophone" trademark for legal reasons, in 1901 Johnson's and Berliner's separate companies reorganized to form the Victor Talking Machine Company, whose products would come to dominate the market for many years. Emile Berliner moved his company to Montreal in 1900. The factory which became RCA Victor stills exists. There is a dedicated museum in Montreal for Berliner.

Question: What is the name of lateral cut disc records?
Answer: gramophone

Question: What was an issue found with Berliner's records initially? 
Answer: poor sound quality
Textual_criticism

By 1979, with the establishment of the Foundation for Ancient Research and Mormon Studies (FARMS) as a California non-profit research institution, an effort led by Robert F. Smith began to take full account of Larson’s work and to publish a Critical Text of the Book of Mormon. Thus was born the FARMS Critical Text Project which published the first volume of the 3-volume Book of Mormon Critical Text in 1984. The third volume of that first edition was published in 1987, but was already being superseded by a second, revised edition of the entire work, greatly aided through the advice and assistance of then Yale doctoral candidate Grant Hardy, Dr. Gordon C. Thomasson, Professor John W. Welch (the head of FARMS), Professor Royal Skousen, and others too numerous to mention here. However, these were merely preliminary steps to a far more exacting and all-encompassing project.

Question: Who is the head of FARMS?
Answer: Professor John W. Welch
Gramophone_record

Lateral-cut disc records were developed in the United States by Emile Berliner, who named his system the "gramophone", distinguishing it from Edison's wax cylinder "phonograph" and Columbia's wax cylinder "graphophone". Berliner's earliest discs, first marketed in 1889, but only in Europe, were 5 inches (13 cm) in diameter, and were played with a small hand-propelled machine. Both the records and the machine were adequate only for use as a toy or curiosity, due to the limited sound quality. In the United States in 1894, under the Berliner Gramophone trademark, Berliner started marketing records with somewhat more substantial entertainment value, along with somewhat more substantial gramophones to play them. Berliner's records had poor sound quality compared to wax cylinders, but his manufacturing associate Eldridge R. Johnson eventually improved the sound quality. Abandoning Berliner's "Gramophone" trademark for legal reasons, in 1901 Johnson's and Berliner's separate companies reorganized to form the Victor Talking Machine Company, whose products would come to dominate the market for many years. Emile Berliner moved his company to Montreal in 1900. The factory which became RCA Victor stills exists. There is a dedicated museum in Montreal for Berliner.

Question: What is 'Victor Talking Machine now known as?
Answer: RCA Victor
Gramophone_record

The phonograph disc record was the primary medium used for music reproduction until late in the 20th century, replacing the phonograph cylinder record–with which it had co-existed from the late 1880s through to the 1920s–by the late 1920s. Records retained the largest market share even when new formats such as compact cassette were mass-marketed. By the late 1980s, digital media, in the form of the compact disc, had gained a larger market share, and the vinyl record left the mainstream in 1991. From the 1990s to the 2010s, records continued to be manufactured and sold on a much smaller scale, and were especially used by disc jockeys (DJ)s, released by artists in some genres, and listened to by a niche market of audiophiles. The phonograph record has made a niche resurgence in the early 21st century – 9.2 million records were sold in the U.S. in 2014, a 260% increase since 2009. Likewise, in the UK sales have increased five-fold from 2009 to 2014.

Question: What was the primary use of a phonographic disc record?
Answer: music reproduction

Question: What is the niche market of phonograph record fans known as?
Answer: audiophiles
Gramophone_record

Lateral-cut disc records were developed in the United States by Emile Berliner, who named his system the "gramophone", distinguishing it from Edison's wax cylinder "phonograph" and Columbia's wax cylinder "graphophone". Berliner's earliest discs, first marketed in 1889, but only in Europe, were 5 inches (13 cm) in diameter, and were played with a small hand-propelled machine. Both the records and the machine were adequate only for use as a toy or curiosity, due to the limited sound quality. In the United States in 1894, under the Berliner Gramophone trademark, Berliner started marketing records with somewhat more substantial entertainment value, along with somewhat more substantial gramophones to play them. Berliner's records had poor sound quality compared to wax cylinders, but his manufacturing associate Eldridge R. Johnson eventually improved the sound quality. Abandoning Berliner's "Gramophone" trademark for legal reasons, in 1901 Johnson's and Berliner's separate companies reorganized to form the Victor Talking Machine Company, whose products would come to dominate the market for many years. Emile Berliner moved his company to Montreal in 1900. The factory which became RCA Victor stills exists. There is a dedicated museum in Montreal for Berliner.

Question: Where were lateral cut disc records developed?
Answer: United States

Question: Where is the museum dedicated to Berliner located?
Answer: Montreal
Gramophone_record

The phonograph disc record was the primary medium used for music reproduction until late in the 20th century, replacing the phonograph cylinder record–with which it had co-existed from the late 1880s through to the 1920s–by the late 1920s. Records retained the largest market share even when new formats such as compact cassette were mass-marketed. By the late 1980s, digital media, in the form of the compact disc, had gained a larger market share, and the vinyl record left the mainstream in 1991. From the 1990s to the 2010s, records continued to be manufactured and sold on a much smaller scale, and were especially used by disc jockeys (DJ)s, released by artists in some genres, and listened to by a niche market of audiophiles. The phonograph record has made a niche resurgence in the early 21st century – 9.2 million records were sold in the U.S. in 2014, a 260% increase since 2009. Likewise, in the UK sales have increased five-fold from 2009 to 2014.

Question: Approximately how many phonograph records were sold in 2014?
Answer: 9.2 million
Textual_criticism

By 1979, with the establishment of the Foundation for Ancient Research and Mormon Studies (FARMS) as a California non-profit research institution, an effort led by Robert F. Smith began to take full account of Larson’s work and to publish a Critical Text of the Book of Mormon. Thus was born the FARMS Critical Text Project which published the first volume of the 3-volume Book of Mormon Critical Text in 1984. The third volume of that first edition was published in 1987, but was already being superseded by a second, revised edition of the entire work, greatly aided through the advice and assistance of then Yale doctoral candidate Grant Hardy, Dr. Gordon C. Thomasson, Professor John W. Welch (the head of FARMS), Professor Royal Skousen, and others too numerous to mention here. However, these were merely preliminary steps to a far more exacting and all-encompassing project.

Question: Who spearheaded the Critical Text of the Book of Mormon project?
Answer: Robert F. Smith

Question: Was the third volume of the first edition deemed sufficient?
Answer: The third volume of that first edition was published in 1987, but was already being superseded by a second, revised edition of the entire work
Gramophone_record

In 1901, 10-inch disc records were introduced, followed in 1903 by 12-inch records. These could play for more than three and four minutes respectively, while contemporary cylinders could only play for about two minutes. In an attempt to head off the disc advantage, Edison introduced the Amberol cylinder in 1909, with a maximum playing time of 4½ minutes (at 160 rpm), which in turn were superseded by Blue Amberol Records, which had a playing surface made of celluloid, a plastic, which was far less fragile. Despite these improvements, during the 1910s discs decisively won this early format war, although Edison continued to produce new Blue Amberol cylinders for an ever-dwindling customer base until late in 1929. By 1919 the basic patents for the manufacture of lateral-cut disc records had expired, opening the field for countless companies to produce them. Analog disc records would dominate the home entertainment market until they were outsold by the digital compact disc in the late 1980s (which was in turn supplanted by digital audio recordings distributed via online music stores and Internet file sharing).

Question: What format dominated the market in the late 1980s?
Answer: digital compact disc
Gramophone_record

The phonograph disc record was the primary medium used for music reproduction until late in the 20th century, replacing the phonograph cylinder record–with which it had co-existed from the late 1880s through to the 1920s–by the late 1920s. Records retained the largest market share even when new formats such as compact cassette were mass-marketed. By the late 1980s, digital media, in the form of the compact disc, had gained a larger market share, and the vinyl record left the mainstream in 1991. From the 1990s to the 2010s, records continued to be manufactured and sold on a much smaller scale, and were especially used by disc jockeys (DJ)s, released by artists in some genres, and listened to by a niche market of audiophiles. The phonograph record has made a niche resurgence in the early 21st century – 9.2 million records were sold in the U.S. in 2014, a 260% increase since 2009. Likewise, in the UK sales have increased five-fold from 2009 to 2014.

Question: Which year did vinyl records leave the main steam media market?
Answer: 1991
Gramophone_record

In 1877, Thomas Edison invented the phonograph. Unlike the phonautograph, it was capable of both recording and reproducing sound. Despite the similarity of name, there is no documentary evidence that Edison's phonograph was based on Scott's phonautograph. Edison first tried recording sound on a wax-impregnated paper tape, with the idea of creating a "telephone repeater" analogous to the telegraph repeater he had been working on. Although the visible results made him confident that sound could be physically recorded and reproduced, his notes do not indicate that he actually reproduced sound before his first experiment in which he used tinfoil as a recording medium several months later. The tinfoil was wrapped around a grooved metal cylinder and a sound-vibrated stylus indented the tinfoil while the cylinder was rotated. The recording could be played back immediately. The Scientific American article that introduced the tinfoil phonograph to the public mentioned Marey, Rosapelly and Barlow as well as Scott as creators of devices for recording but, importantly, not reproducing sound. Edison also invented variations of the phonograph that used tape and disc formats. Numerous applications for the phonograph were envisioned, but although it enjoyed a brief vogue as a startling novelty at public demonstrations, the tinfoil phonograph proved too crude to be put to any practical use. A decade later, Edison developed a greatly improved phonograph that used a hollow wax cylinder instead of a foil sheet. This proved to be both a better-sounding and far more useful and durable device. The wax phonograph cylinder created the recorded sound market at the end of the 1880s and dominated it through the early years of the 20th century.

Question: What was unique about Einsteins invention?
Answer: reproducing sound

Question: At what era was the recorded sound market introduced?
Answer: 1880s
Gramophone_record

Early recordings were made entirely acoustically, the sound being collected by a horn and piped to a diaphragm, which vibrated the cutting stylus. Sensitivity and frequency range were poor, and frequency response was very irregular, giving acoustic recordings an instantly recognizable tonal quality. A singer practically had to put his or her face in the recording horn. Lower-pitched orchestral instruments such as cellos and double basses were often doubled (or replaced) by louder wind instruments, such as tubas. Standard violins in orchestral ensembles were commonly replaced by Stroh violins, which became popular with recording studios.

Question: How was the frequency response in early recordings?
Answer: very irregular
Gramophone_record

In 1901, 10-inch disc records were introduced, followed in 1903 by 12-inch records. These could play for more than three and four minutes respectively, while contemporary cylinders could only play for about two minutes. In an attempt to head off the disc advantage, Edison introduced the Amberol cylinder in 1909, with a maximum playing time of 4½ minutes (at 160 rpm), which in turn were superseded by Blue Amberol Records, which had a playing surface made of celluloid, a plastic, which was far less fragile. Despite these improvements, during the 1910s discs decisively won this early format war, although Edison continued to produce new Blue Amberol cylinders for an ever-dwindling customer base until late in 1929. By 1919 the basic patents for the manufacture of lateral-cut disc records had expired, opening the field for countless companies to produce them. Analog disc records would dominate the home entertainment market until they were outsold by the digital compact disc in the late 1980s (which was in turn supplanted by digital audio recordings distributed via online music stores and Internet file sharing).

Question: What was the name of the discs Edison introduced in 1909?
Answer: Blue Amberol cylinders

Question: What disc format was the least fragile prior to 1919?
Answer: Amberol cylinder
Gramophone_record

Early recordings were made entirely acoustically, the sound being collected by a horn and piped to a diaphragm, which vibrated the cutting stylus. Sensitivity and frequency range were poor, and frequency response was very irregular, giving acoustic recordings an instantly recognizable tonal quality. A singer practically had to put his or her face in the recording horn. Lower-pitched orchestral instruments such as cellos and double basses were often doubled (or replaced) by louder wind instruments, such as tubas. Standard violins in orchestral ensembles were commonly replaced by Stroh violins, which became popular with recording studios.

Question: How would one make to early recordings?
Answer: face in the recording horn
Gramophone_record

In 1901, 10-inch disc records were introduced, followed in 1903 by 12-inch records. These could play for more than three and four minutes respectively, while contemporary cylinders could only play for about two minutes. In an attempt to head off the disc advantage, Edison introduced the Amberol cylinder in 1909, with a maximum playing time of 4½ minutes (at 160 rpm), which in turn were superseded by Blue Amberol Records, which had a playing surface made of celluloid, a plastic, which was far less fragile. Despite these improvements, during the 1910s discs decisively won this early format war, although Edison continued to produce new Blue Amberol cylinders for an ever-dwindling customer base until late in 1929. By 1919 the basic patents for the manufacture of lateral-cut disc records had expired, opening the field for countless companies to produce them. Analog disc records would dominate the home entertainment market until they were outsold by the digital compact disc in the late 1980s (which was in turn supplanted by digital audio recordings distributed via online music stores and Internet file sharing).

Question: What was the playing surface of the blue amerbol cylinder discs made of?
Answer: celluloid
Gramophone_record

Electrical recording preceded electrical home reproduction because of the initial high cost of the new system. In 1925, the Victor company introduced the Victor Orthophonic Victrola, an acoustical record player that was specifically designed to play electrically recorded discs, as part of a line that also included electrically reproducing Electrolas. The acoustical Orthophonics ranged in price from US$95 to US$300, depending on cabinetry; by comparison, the cheapest Electrola cost US$650, the price of a new Ford automobile in an era when clerical jobs paid about $20 a week.

Question: What was a drawback of early home recording systems?
Answer: high cost
Gramophone_record

The phonograph disc record was the primary medium used for music reproduction until late in the 20th century, replacing the phonograph cylinder record–with which it had co-existed from the late 1880s through to the 1920s–by the late 1920s. Records retained the largest market share even when new formats such as compact cassette were mass-marketed. By the late 1980s, digital media, in the form of the compact disc, had gained a larger market share, and the vinyl record left the mainstream in 1991. From the 1990s to the 2010s, records continued to be manufactured and sold on a much smaller scale, and were especially used by disc jockeys (DJ)s, released by artists in some genres, and listened to by a niche market of audiophiles. The phonograph record has made a niche resurgence in the early 21st century – 9.2 million records were sold in the U.S. in 2014, a 260% increase since 2009. Likewise, in the UK sales have increased five-fold from 2009 to 2014.

Question: From the 1990s to 2010s who was the primary consumer of vinyl records?
Answer: disc jockeys (DJ)s
Gramophone_record

Electrical recording preceded electrical home reproduction because of the initial high cost of the new system. In 1925, the Victor company introduced the Victor Orthophonic Victrola, an acoustical record player that was specifically designed to play electrically recorded discs, as part of a line that also included electrically reproducing Electrolas. The acoustical Orthophonics ranged in price from US$95 to US$300, depending on cabinetry; by comparison, the cheapest Electrola cost US$650, the price of a new Ford automobile in an era when clerical jobs paid about $20 a week.

Question: What was the initial cost range of early recording devices?
Answer: US$95 to US$300
Gramophone_record

In 1901, 10-inch disc records were introduced, followed in 1903 by 12-inch records. These could play for more than three and four minutes respectively, while contemporary cylinders could only play for about two minutes. In an attempt to head off the disc advantage, Edison introduced the Amberol cylinder in 1909, with a maximum playing time of 4½ minutes (at 160 rpm), which in turn were superseded by Blue Amberol Records, which had a playing surface made of celluloid, a plastic, which was far less fragile. Despite these improvements, during the 1910s discs decisively won this early format war, although Edison continued to produce new Blue Amberol cylinders for an ever-dwindling customer base until late in 1929. By 1919 the basic patents for the manufacture of lateral-cut disc records had expired, opening the field for countless companies to produce them. Analog disc records would dominate the home entertainment market until they were outsold by the digital compact disc in the late 1980s (which was in turn supplanted by digital audio recordings distributed via online music stores and Internet file sharing).

Question: What year did the patent for lateral cut discs expire?
Answer: 1919