Is community radio at death's door? More than 1000 churches, schools and community organizations nationwide have applied for licenses to operate 10W-100W FM stations. Despite a strong grass-roots movement, and the support of <A HREF="http://www.fcc.gov/">Federal Communications Commission</A> chairman William Kennard, the low-power radio (LPFM) movement is about to be buried by the combined weight of the <A HREF="http://www.nab.org/">National Association of Broadcasters</A>, <A HREF="http://www.npr.org/">National Public Radio</A>, and their many friends in the US Congress.

Sidney Smith, revered audio engineer and a founding father of the modern audio industry, passed away on October 25, 2000 after a battle with cancer. He was 77. Sid, a family man, left a loving wife, Marilyn, three caring daughters, Jennie, Pattie, and Laura, and two grandchildren.

Could this be a record executive's dream come true and the end of the need for watermarking as we know it? <A HREF="http://www.CantaMetrix.com/">CantaMetrix</A&gt; has announced the further development of a new technology, MusicDNA, that the company claims is capable of identifying and tracking the billions of existing as well as new MP3 files on the Internet and providing an exact accounting for the copyright, "thus enabling legal file sharing and linking value-added data to songs."

At least one media conglomerate has seen the light. In a surprise move, German giant <A HREF="http://www.bertelsmann.de">Bertelsmann AG</A> broke ranks with the music industry and settled its copyright-infringement lawsuit with embattled <A HREF="http://www.napster.com/">Napster</A&gt;, in effect becoming the startup's tentative partner. The deal, reached on October 31, could mark the real beginning of the music industry's move into the Internet age. Bertelsmann is the parent organization of <A HREF="http://www.bmg.com/">Bertelsmann Music Group</A> (BMG), one of the world's major music labels, as well as online music retailer <A HREF="http://www.cdnow.com/">CDnow</A&gt;.

Chip Stern writes, "There is something enduring and reassuring in the classic audio verities." The <A HREF="http://www.stereophile.com//loudspeakerreviews/284/">Vandersteen 2Ce Signature loudspeaker</A> is certainly considered one of those timeless classics. But how does a speaker released in its first incarnation more than 20 years ago hold up by today's standards? Stern lends his modern ear to the task and includes notes from Richard Vandersteen himself.

<B>ROBERT WALTER'S 20TH CONGRESS: <I>Money Shot</I></B><BR> Fog City FCCD 004 (CD). 2000. Dan Prothero, prod., eng.; Kevin Ink, asst. eng. AAD? TT: 59:24<BR> Performance <B>****?</B><BR> Sonics <B>****?</B>

Back in 1992, Robert Harley's <I>Stereophile</I> review of the <A HREF="http://www.stereophile.com//amplificationreviews/520/">McCormack DNA-1</A> and Parasound HCA-2200 amplifiers (April 1992, Vol.15 No.4) and the accompanying technical measurements piqued my interest. So, with great curiosity, I arranged to borrow a DNA-1 to audition, along with competitive amps from Aragon, Bryston, and PS Audio. They were all a leap ahead of my Adcom GFA-555, but it took an act of great courage to accept that, despite its less-than-stellar measured performance, the DNA-1 was my favorite. The bottom line was that the DNA-1 excelled at driving my Apogee Duettas to make lively and harmonically pure sounds. I bought my McCormack DNA-1 amplifier before I began reviewing equipment for <I>Stereophile</I>, and it still occupies an honored place in my system.

Back in 1992, Robert Harley's <I>Stereophile</I> review of the <A HREF="http://www.stereophile.com//amplificationreviews/520/">McCormack DNA-1</A> and Parasound HCA-2200 amplifiers (April 1992, Vol.15 No.4) and the accompanying technical measurements piqued my interest. So, with great curiosity, I arranged to borrow a DNA-1 to audition, along with competitive amps from Aragon, Bryston, and PS Audio. They were all a leap ahead of my Adcom GFA-555, but it took an act of great courage to accept that, despite its less-than-stellar measured performance, the DNA-1 was my favorite. The bottom line was that the DNA-1 excelled at driving my Apogee Duettas to make lively and harmonically pure sounds. I bought my McCormack DNA-1 amplifier before I began reviewing equipment for <I>Stereophile</I>, and it still occupies an honored place in my system.

Back in 1992, Robert Harley's <I>Stereophile</I> review of the <A HREF="http://www.stereophile.com//amplificationreviews/520/">McCormack DNA-1</A> and Parasound HCA-2200 amplifiers (April 1992, Vol.15 No.4) and the accompanying technical measurements piqued my interest. So, with great curiosity, I arranged to borrow a DNA-1 to audition, along with competitive amps from Aragon, Bryston, and PS Audio. They were all a leap ahead of my Adcom GFA-555, but it took an act of great courage to accept that, despite its less-than-stellar measured performance, the DNA-1 was my favorite. The bottom line was that the DNA-1 excelled at driving my Apogee Duettas to make lively and harmonically pure sounds. I bought my McCormack DNA-1 amplifier before I began reviewing equipment for <I>Stereophile</I>, and it still occupies an honored place in my system.

Back in 1992, Robert Harley's <I>Stereophile</I> review of the <A HREF="http://www.stereophile.com//amplificationreviews/520/">McCormack DNA-1</A> and Parasound HCA-2200 amplifiers (April 1992, Vol.15 No.4) and the accompanying technical measurements piqued my interest. So, with great curiosity, I arranged to borrow a DNA-1 to audition, along with competitive amps from Aragon, Bryston, and PS Audio. They were all a leap ahead of my Adcom GFA-555, but it took an act of great courage to accept that, despite its less-than-stellar measured performance, the DNA-1 was my favorite. The bottom line was that the DNA-1 excelled at driving my Apogee Duettas to make lively and harmonically pure sounds. I bought my McCormack DNA-1 amplifier before I began reviewing equipment for <I>Stereophile</I>, and it still occupies an honored place in my system.