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Zothecula writes with this Gizmag story about an interdisciplinary team of researchers who have built the first prototype of a miniature particle accelerator that uses terahertz radiation. "Researchers at MIT in the US and DESY (Deutsches Elektronen-Synchrotron) in Germany have developed a technology that could shrink particle accelerators by a factor of 100 or more. The basic building block of the accelerator uses high-frequency electromagnetic waves and is just 1.5 cm (0.6 in) long and 1 mm (0.04 in) thick, with this drastic size reduction potentially benefitting the fields of medicine, materials science and particle physics, among others."

jabberjaw writes "Physicsweb is reporting that Germany's DESY lab has been chosen as the host of the International Linear Collider. Built at an estimated $5bn the ILC will utilizes supeconducting cavities operating at 2 Kelvin rather then the more conventional X-Band accelerators outlined by the US team at Stanford and the Japanese team at KEK. After the ILC's expected completion in 2010 the 30km long lab will have the ability to accelerate electrons and positrons at energies up to 1 TeV."

The recent 'Ask Slashdot' about MIDI support for Linux sparked some enlightening conversation about music, computers, and where Linux fits into the state of the art. Development of production-quality authoring, sequencing and notation software is moving ahead, but as in any artistic relationship, there's a symbiotic relationship between artists and the tools they use to ply their trade. Part I of a series.

Comparing music-authoring software on Linux with that available for other platforms isn't exactly a fair match-up. Dave Phillips, maintainer of the Sound and MIDI Software for Linux website, says "Don't bother with the odious comparisons: 'Rosegarden is no Cakewalk,' 'Brahms is no Cubase,' and so forth. We know. We're working on it, but we're working on better things, too."

I asked Dave about his current music set-up, and how he uses it with Linux. "MIDI-wise, there's not much you couldn't use. I have a Yamaha DMP11 MIDI-controllable mixer, two Yamaha TX802 synthesizers, an Alesis MIDIverb, and various other pieces. MIDI is MIDI.

Digital audio is another can of worms. Professional cards have only begun to see Linux support. Notable advances have been made by ALSA, particularly in the work led by Paul Barton-Davis. Digital audio boards from RME and MIDIman are now supported by ALSA, and OSS/Linux will be adding some more proprietary cards to their list later this year, I hope."

Free solutions are attractive to many musicians, who consider their music a labor of love, but can't spend money on equipment as if their music were a money-making venture. So, without big cash as a catalyst for the development of professional tools, how will we make that happen? Alex Young, digital composer and occasional musician, answers the question:

"We need competition. If you think about when the Amiga demo scene was big, different demo groups really competed to get the slickest code and the best tunes. As a side effect, many useful tools were produced. If Linux had a greater drive in multimedia than is commonly interpreted by onlookers onto the open source community, music tools would benefit. Maybe the increasing interest in Linux games will drive this, or maybe individuals interested in programming and music will. There are many things that could be done, maybe projects could even be funded by sales of music produced with such tools!

I think people need to be attracted to Linux itself. Considering that I still like using an Atari ST with Cubase, and some electronic musicians wouldn't give up their Atari even now, people don't see it as a platform for writing music. For that Aphex Twin sound, we need very advanced midi software. And for the kind of MoWax-style sound we need very good sample editors. I believe open source music software can be as good or if not better than the commercial counterparts, for the same reason as any other applications."

To many Linux-friendly musicians, how they license their music can be just as important as the music itself. I spoke to Jeff Alami, Linux.com editor-in-chief and weekend composer about this issue. "I'm not trying to make any money with my music. I may have to add some sort of license in the future if only to maintain that the music was originally created by me." The Design Science License has been developed by Michael Stutz as a method by which copyleft can be applied to things other than software. Written with a little help from Wendy Seltzer, an attorney at the Berkman Center at Harvard Law School, the DSL is a way of copylefting any work that is recognized by copyright law, including music and art. This is one tool you won't have to wait for; it's been available for the past few years. "From what I see right now," Jeff says, "the DSL would serve my needs, mainly because it works to maintain the attribution integrity."

It's true that Linux has no professional audio suite at present, but after speaking to some of the people who work with Linux as a music tool, the message is clear. We're getting there. Small bits and pieces of quality software are already available, but heavy hitters like Cakewalk and Mark of the Unicorn haven't made the cross-platform leap to Linux the way several big names in the graphics field recently have. A high-quality, open source audio suite is definitely high on the 'wish list' of Linux enthusiasts, and the increasing quality and openness of Linux sound-related device drivers is paving the way for Linux-based music production as more than hobby.

If software development for Linux proceeds as fast as it has over the past year or so, it won't be long till the killer audio app appears. Until that time, we still have plenty to talk about. Next week, we dive once more into the creative process, and discuss high-end audio mastering, low-bandwidth sound transport and using Linux as a tool for good old-fashioned synthesis.See you then.