S<I>tereophile</I> readers with a hunger for licorice pizza may wish to turn their attention to the Phonogram mailing list---an online, noncommercial discussion forum for those interested in vinyl and related topics. According to Phonogram's material, "the group is an open, informative, interesting, and just plain fun place for people to share their enthusiasm for, knowledge of, and opinions on music on shiny black discs. Although the focus is primarily on 33 1/3rpm vinyl LPs, comments and questions on 45s, 78s, open-reel tapes, or other media (even CeeDees) are welcome. Discussion of hardware supporting record playback (e.g., turntables, tonearms, cartridges, phono stages, and accessories) is fair game as well."

Last week, <A HREF="http://www.referencerecordings.com">Reference Recordings</A> of San Francisco announced that it is planning five new symphonic projects to be recorded by "Prof." Keith Johnson in 88.2kHz, HDCDr 5-channel discrete surround sound. These will be released on standard two-channel compact disc in the coming year, and eventually on DVD audio disc. According to RR, with these ambitious plans, the company hopes to reverse the industry-wide decline in new recordings of classical orchestral music

Last week, <A HREF="http://www.referencerecordings.com">Reference Recordings</A>, of San Francisco, announced that it is planning five new symphonic projects to be recorded by "Prof." Keith Johnson in 88.2kHz, HDCD, 5-channel discrete surround sound. These will be released on standard two-channel CD in the coming year, and eventually on DVD-Audio disc. According to RR, with these ambitious plans, the company hopes to reverse the industry-wide decline in new recordings of classical orchestral music.

Our first new archive article this week is "<A HREF="http://www.stereophile.com//musicrecordings/82/">Building a Library: The Grateful Dead</A>," in which past AES chairperson Elizabeth Cohen reveals her thoughts about what the band has meant to a musical generation. Also included is a complete Dead discography, lots of lyrics, and a little history.

In January, <A HREF="http://www.npr.org/">National Public Radio</A> launched an ambitious series chronicling the history of the 20th century in sound. <I>Lost & Found Sound</I> began with the first half of a two-part piece on the father of audio technology, entitled "The Rise and Fall of Thomas Alva Edison." Part two, which examines Edison's competition, will be broadcast this week.

Until the end of January, the <A HREF="http://www.fcc.gov/">Federal Communications Commission</A> had <A HREF="http://www.stereophile.com/news/10244/">opposed</A&gt; the proliferation of low-power FM radio stations. "Microradio," as it is sometimes called, has been an ongoing problem for the agency since inexpensive broadcasting gear became widely available several years ago. Primarily an urban phenomenon, microradio consists of individuals and small groups with a hodgepodge of equipment, who wedge themselves into unoccupied slots in the crowded FM band.

Musician, martial artist, and electronics whiz Ben Blish has loved audio since he was a little kid staring into the glowing tubes of his father's Scott hi-fi equipment. Thirty-four years after catching the bug, he still nurtures it daily.

Recently, we've seen the digital "horsepower" race accelerate with the arrival of digital sources and devices with 24-bit and 96kHz sampling capability. Much of this has been spurred by the 24/96 labels emblazoned on the newer DVD players&mdash;and, within the purer confines of the audio community, by high-end DACs with this same ability. Indeed, it's possible that the dCS Elgar DAC, near and dear to John Atkinson's heart and a perennial Class A selection in <I>Stereophile</I>'s "Recommended Components," performs so well with standard 16-bit/44.1kHz sources because its wider digital bandwidth permits greater linearity within the more restricted range of regular CDs.

Recently, we've seen the digital "horsepower" race accelerate with the arrival of digital sources and devices with 24-bit and 96kHz sampling capability. Much of this has been spurred by the 24/96 labels emblazoned on the newer DVD players&mdash;and, within the purer confines of the audio community, by high-end DACs with this same ability. Indeed, it's possible that the dCS Elgar DAC, near and dear to John Atkinson's heart and a perennial Class A selection in <I>Stereophile</I>'s "Recommended Components," performs so well with standard 16-bit/44.1kHz sources because its wider digital bandwidth permits greater linearity within the more restricted range of regular CDs.