question: How are music files so small when the state of the waveform is saved 48000 times per second?
comment: MP3s are compressed lossy files. This means that when the files are generated from the original, there is a setting in the algorithm that allows one to set the 'quality' or size of the resulting file. The files don't contain the original data, but details of what the original data was. Wikipedia does a good job describing MP3 files: URL_0
passages: Section::::MWW.
  
  MWW is the non-documented, proprietary binary file format developed by Middle Earth Software that stored MIDI and additional information. The .mww files are typically about six to eight times larger than .mid files. MusicWorks has an autosave feature that created a "~MW" file, identical to an MWW file, that backs up the music while being working on. The program is stable enough that this is in case the OS crashes or some other problem is caused by multi-tasking.
   BULLET::::- Image Sequences: Storage of multiple time-related and/or temporally predicted images (like a burst-photo shot or cinemagraph animation), their properties and thumbnails. Different prediction options can be used in order to exploit the temporal and spatial similarities between the images. Hence, file sizes can be drastically reduced even when tens of images are stored in the same HEIF file.
   The Jukebox 6000, and its successor the Jukebox Studio (see below), used standard USB 1.1 technology, transferring data at a maximum rate of 1 MB per second. These models transfer data at a comparably slow rate compared with succeeding Archos devices using the USB 2.0 standard.
  
  This device was released Saturday, December 9, 2000 and discontinued as of Friday, May 16, 2003. It weighs 350 g.
   The "orchestra" and "score" files may be unified into a single structured file using markup language tags (a CSD file with filename extension .csd). Here is a very simple example of a unified Csound data file which produces a wave file containing a one-second sine wave tone of 1 kHz at a sample rate of 96 kHz:
   The first of these tracks to reach the million-note mark was that of “Necrofantasia” from "Touhou Project" video game "Perfect Cherry Blossom", arranged by TheTrustedComputer. The end of the title of many Black MIDI videos displays how many notes are in the piece. The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as "Wrecking Ball" by Miley Cyrus. Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down. The three largest black MIDIs are "Armageddon v3," "TheTrueEnd," and "Ashes," all of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion). Due to the nature of their creation and their sheer size, they are unable to be played back and recorded.
   Frame rates are measured in jiffies, with one jiffy equal to 1/60 of a second, or 16.666 ms.
  
  Section::::File structure.:Sequencing.
  
  "Sequence information" present in the file determines the sequence of frames, and allows frames to be played more than once, or in a different order than that in which they appear in the file. For example, if the animation contains three different images numbered 1, 2 and 3, and the sequence is 1-2-3-2-1, (five frames) then only three icons need to be stored in the file, thereby saving storage space.
  
  Section::::See also.
  
  BULLET::::- Pointer (graphical user interfaces)
   In March 2006, Sony released the MZ-RH1 Hi-MD Walkman in Japan, which was later followed in other regions. With this unit, Sony enabled faster-than-realtime full digital transfers from standard MiniDiscs to the computer for the first time. Users with extensive MiniDisc collections, for example, could upload their recordings digitally faster than real-time via USB connection, just like Hi-MD recordings already offered.
   Section::::Reception.
   Some time later, Pixel developed the Organya format for use in the indie game Cave Story. This format is very similar to PiyoPiyo, with the major difference being support for up to 8 melody tracks and 8 drum tracks for 16 simultaneous sounds. Rather than having the specifications of the waveform editable, Organya uses a built-in library of 100 wave "instruments" to choose from. Pxtone was developed as a successor to Organya.
  
  Section::::Features.
  
  BULLET::::- Up to 100 voice samples, 50 instrument units, and 500,000 events per file
  
  BULLET::::- Sampling of .wav, .ogg, .pcm, .ptvoice, and .ptnoise
   BULLET::::- In 2003, Mark Liberman had calculated the storage requirements for all human speech ever spoken at 42 zettabytes if digitized as 16 kHz 16-bit audio. He did this in response to a popular expression that states "all words ever spoken by human beings" could be stored in approximately 5 exabytes of data. Liberman confessed that "maybe the authors [of the exabyte estimate] were thinking about text".
  
  BULLET::::- In 2007, humankind successfully sent 1.9 zettabytes of information through broadcast technology such as televisions and GPS per research from the University of Southern California.
   Section::::Features.:Codecs.
  
  Rockbox on software decoding platforms (non-Archos) supports playback of twelve lossy codecs (depending on how one counts), five lossless, two uncompressed and twelve miscellaneous formats. This makes a conservative total of 30 supported audio formats, although a few of them do not operate in realtime on all platforms. Extensive work has gone into optimizing each codec, with FLAC, Ogg Vorbis, WMA, APE, TTA, MPC, Wavpack, ATRAC3, Cook and WMA Pro among the fastest known integer implementations for those formats.
  
  Section::::Features.:Codecs.:Lossy formats.
  
  BULLET::::- MPEG audio layers I-III (MP3/MP2/MP1)
  
  BULLET::::- Ogg Vorbis
  
  BULLET::::- MPEG-4 AAC(-LC/HE/HEv2 profiles) (in MP4 or RM containers)
   BULLET::::- After the DCT transformation is achieved, AVS2 will conduct the second 4 x 4 transformation for the 4 x 4 blocks with low frequency coefficients, thus further to reduce the correlation between coefficients, and enable the energy to be more concentrated.
  
  BULLET::::- Entropy Coding
  
  BULLET::::- The AVS2 entropy coding divides transformation coefficients into CGs (Coefficient Group) of 4 x 4 size first, and then conducts encoding and zigzag scan according to the CGs.
   BULLET::::- Video streaming: , Netflix had 3.14 petabytes of video "master copies", which it compresses and converts into 100 different formats for streaming.
  
  BULLET::::- Photos: , Facebook users had uploaded over 240 billion photos, with 350 million new photos every day. For each uploaded photo, Facebook generates and stores four images of different sizes, which translated to a total of 960 billion images and an estimated 357 petabytes of storage.
  
  BULLET::::- Music: One petabyte of average MP3-encoded songs (for mobile, roughly one megabyte per minute), would require 2000 years to play.
   The file system has gone through two major revisions; FST version 1.0 and the latest version, FST version 1.10. The latter adds long file names (64 characters, as opposed to 10 characters in 1.00) as well as the possibility to create up to 99 projects, each containing up to 99 songs.
   BULLET::::- In order to simplify the motion compensation, AVS2 adopts an 8-tap interpolation filter based on DCT transformation, which requires only one filtering, and supports the generation of higher motion vector accuracy than 1/4 pixel.
  
  BULLET::::- Transformation
  
  BULLET::::- Transformation coding in AVS2 mainly applies integer DCT transformation, which is directly performed on the transformation blocks of Size 4×4, 8×8, 16×16, 32x32.
  
  BULLET::::- For one transformation block with dimension greater than 64, a logical transformation LOT is adopted to conduct the wavelet transformation, followed by the integer DCT transformation.
   BULLET::::- Samples in image sequence tracks must be either intra-coded images or inter-picture predicted images with reference to only intra-coded images. These constraints of inter-picture prediction reduce the decoding latency for accessing any particular image within an HEVC image sequence track.
  
  Section::::HEVC Image File Format.:Implementation.
   Nowadays, most module files, including ones in zipped form, are supported by most popular media players such as Winamp, VLC, Foobar2000, Amarok, Exaile and many others (mainly due to inclusion of common playback libraries such as libmodplug for gstreamer).
  
  Section::::Structure.
  
  Module files store digitally recorded samples and several "patterns" or "pages" of music data in a form similar to that of a spreadsheet. These patterns contain note numbers, instrument numbers, and controller messages. The number of notes that can be played simultaneously depends on how many "tracks" there are per pattern.
   BULLET::::- Embedded mp3 track and the mp3HD file share the same id3 metadata
  
  BULLET::::- Popularity of the mp3 brand
  
  Cons
  
  BULLET::::- Not very widespread
  
  BULLET::::- Lack of support
  
  BULLET::::- Bigger than standard mp3
  
  BULLET::::- No quality boost if player only supports standard mp3
  
  BULLET::::- The lossless part is stored in an ID3v2 tag.
  
  BULLET::::- Size of ID3v2 tags is limited to by specifications; as a result, lossless part of an mp3hd file can't be larger than .
   There is a wide variety of technologies employed to make the JFR efficient, for example:
  
  BULLET::::- Binary representations, no translations back and forth to strings, the buffers are efficiently emitted to disk
  
  BULLET::::- Most events are recorded into thread local native buffers
  
  BULLET::::- On some platforms invariant TSC is employed for efficient time stamping
  
  BULLET::::- Integer compression scheme, to keep in-memory and on-file size down
  
  BULLET::::- Since implemented in the JVM, much data is readily available, or emitted at a time when the data is readily available, keeping cost down
   Any metadata in the Sony format were lost in the format conversion. This was a format conversion only, the adapter did not do sample rate conversion.
  
  Section::::Technology.:Ancillary equipment.:M adapter.
   Low decoder overhead is paramount as the S1 MP3 players have very low-end processors (a Z80 variant). Video compression ratio is low – around 4 pixels/byte, compared with over 10 pixels/byte for MPEG-2 – though as the files are of low resolution (96×96 up to 208×176) and frame rate (10, 12, or 16 frame/s), file sizes are small in bytes per second. With a resolution of 128×96 pixels and a framerate of 12 frame/s, a 30-minute video will be compressed into 80 MB.
  
  Section::::Documentation.
   The method of segmenting files into smaller files used by some implementations (as used by HTTP Live Streaming) could be deemed unnecessary due to the ability of HTTP clients to request byte ranges from a single video asset file that could have multiple video tracks at differing bit rates with the manifest file only indicating track number and bit rate. However, this approach allows for serving of chunks by any simple HTTP server and so therefore guarantees CDN compatibility. Implementations using byte ranges such as Microsoft Smooth Streaming require a dedicated HTTP server such as IIS to respond to the requests for video asset chunks.
   Section::::Native support for MP3.
  
  In 2005, Sony released its second-generation Hi-MD devices offering native support for the popular MP3 format (earlier, SonicStage would transcode MP3 files to ATRAC format before recording on the disc). Transcoding files between lossy formats always results in lower quality sound.
   Tracks, in turn, are divided into timecode frames (or sectors), which are further subdivided into channel-data frames.
  
  Section::::Technical specifications.:Data structure.:Frames and timecode frames.
  
  The smallest entity in a CD is a channel-data "frame", which consists of 33 bytes and contains six complete 16-bit stereo samples: 24 bytes for the audio (two bytes × two channels × six samples = 24 bytes), eight CIRC error-correction bytes, and one subcode byte. As described in the "Data encoding" section, after the EFM modulation the number of bits in a frame totals 588.
   The FST entry points to the first "chain link block" for the file. The first chain link block contains the disk addresses of up to 40 additional chain link blocks, followed by the disk addresses of up to 60 data blocks. The remaining chain link blocks each contain the disk addresses of up to 400 data blocks. this results in a maximum size of 16,060 800-byte blocks, or 12,848,000 bytes, for any CMS file. The maximum number of records in one file is 65,533.
  
presuppositions: Music files contain all of the original data. Music files contain the original data of the waveform.
corrections: Music files are compressed so that they only contain details of what the original data was. Music files contain only the details of the original data of the waveform.
raw_presuppositions: Music files contain all of the original data. Music files contain the original data of the waveform.
raw_corrections: Music files are compressed so that they only contain details of what the original data was. Music files contain only the details of the original data of the waveform.