At the Sounding Edge: Using QSynth and QJackCtl

In
last month's column,
I introduced seq24, a minimal but powerful MIDI sequencer. The final
screenshot for that column shows off seq24 at work here in Studio Dave.
In that screenshot you can see two of my favorite Linux audio programs, Rui Nuno
Capela's QJackCtl and QSynth. In this month's column, we look at those
applications more closely to learn what they do and how you can use them
in your own Linux MIDI music workstation.

QSynth and QJackCtl are GUI front-ends for other software. QSynth
provides a friendly user interface for the fluidsynth soundfont-based
synthesizer. QJackCtl supplies a similar interface for the JACK audio
server/transport control system. Both applications use a recent version of
the Qt graphics toolkit and up-to-date versions of their other required
components. Complete instructions for installing and configuring QSynth
and QJackCtl can be read on their respective Web sites (see Resources),
and most of the necessary software is included in mainstream Linux distributions.
JACK and fluidsynth typically are not found in mainstream distros, but the
QSynth/QJackCtl Web sites include URLs for those and all other required
parts.

When I refer to a feature of QSynth or QJackCtl in many instances the
feature really belongs to the underlying application. The GUIs organize
the available functions of fluidsynth and JACK for easier access and
control, so for convenience I've written as though QSynth and QJackCtl
are complete in themselves.
QJackCtl
JACK is an audio server and transport control system designed for
low-latency and robust performance up to professional levels of
use. Given a properly tuned base system--low-latency kernel, optimized
disk throughput and so on--client applications can be routed and connected
freely, sharing audio data without dropouts and potentially working with
synchronized transport control. The system has been adopted throughout
the Linux audio development community and has become a necessary part
of any modern Linux-based music and sound production system.

JACK can be launched and controlled from the command prompt. But, when
working in X, it's much nicer to use a GUI to configure the parameters
of the JACK system. QJackCtl provides that GUI.

If you're running an audio-optimized Linux system, such as AGNULA/Demudi
or Planet CCRMA, QJackCtl either is activated by default or is available
as a menu item. If you start QJackCtl from the command prompt you can
add the --help option to see a few possible startup options.

Figure 1 shows off QJackCtl's main panel. Its buttons control the JACK
system active state (start/stop/quit), messaging and status reports,
device connection management, transport control (play/pause), the setup
configuration and a program information pop-up. The main panel also
includes a visual display of the information reported by the status
button.
Figure 1. QJackCtl
Click the Setup button to open the system configuration dialog
shown in Figure 2. This article is not about JACK, so I am going to skip a
detailed explanation of JACK's parameters. QJackCtl attempts to
configure itself with sensible defaults, but you will be able to tune
JACK for better performance as you learn more about its capabilities.
(See the
JACK reference materials
for more information).
Figure 2. The Settings Tab
The Setup panel contains tabs for startup/shutdown scripts, font display
settings and some miscellaneous options. The Display tab includes two
items of special note, an option for connections to be drawn as Bezier
curves and an option for renaming the clients and their ports. They may
not seem so remarkable, but they are thoughtful and useful touches.

Assuming you have a working system, you now can click on the Start button to
start using JACK. Figure 3 demonstrates QJackCtl at work with my M-Audio
Delta 66. JACK typically handles only one soundcard at a time, so I have
separate server configurations for my SBLive and Delta 66 cards. Figure
3 also shows the system status represented by the status panel and its
visual display.
Figure 3. QJackCtl with the M-Audio Delta 66 Soundcard
Now that we have a running JACK system, we can use it with
QSynth. However, before making the connections, let's look at QSynth.
QSynth
The fluidsynth project provides Linux musicians with a free and
open-source soundfont-based synthesizer. A soundfont is a soundfile
format combining audio data and performance control data. Soundfonts are
not merely played back, they require an engine (synthesizer) designed
to apply the performance controls to the raw audio data. fluidsynth is
such an engine.

Like JACK, fluidsynth can be run from the command line, but its
configuration at the prompt can be a bit complicated (see 'man
fluidsynth'). QSynth is the GUI solution to that problem.
Figure 4. QSynth
Figure 4 shows QSynth's default appearance. The main panel is
arranged clearly and is comprehensible. As with QJackCtl, QSynth employs helpful
tooltips to clarify the function of each interface component.

Again, we start our little tour with the Setup panel. Options here include
tabs for audio and MIDI driver configuration, soundfont bank selection
and a summary of QSynth's default and current settings. QSynth supports
audio and MIDI drivers for ALSA and OSS, a MIDI-only driver for MidiShare
and an audio-only driver for JACK. In Figures 5 and 6, QSynth has been
configured as an ALSA sequencer client and as a JACK audio client,
respectively.
Figure 5. MIDI OptionsFigure 6. Audio Options
Click the Soundfonts tab to specify the soundfont banks you want to
assign to the QSynth engine. As Figure 7 shows, you can list multiple
banks, but only the last font listed is active.
Figure 7. Soundfont Selector
Close the Setup panel and click on the Channels button to open the
channel/instrument assignment panel shown in Figure 8. The maximum
number of channels is determined in the Setup/MIDI tab, with a default
of 16 channels to the allowable maximum of 256, all in increments of
16. Right-click on an entry in the Channels dialog and select an
instrument from the soundfont instrument list seen in Figure 9. Repeat
per channel as necessary.
Figure 8. Channels DialogFigure 9. Instrument Selector
QSynth is a multitimbral synthesizer, meaning that you can assign a
different instrument to each channel for a mixed ensemble of independent
players. Alternatively, you can assign a single instrument to multiple channels to
create rich layered sound textures. Or, you can mix all of these methods as you
please. To use different soundfonts at the same time, right-click on the
engine selector tab at the bottom left corner of the main panel--labeled
qsynth1 in Figure 4--to add another instance of QSynth to the fun. Each
engine can access a different soundfont, with independent master gain
and effects settings. With the right fonts, you might find that QSynth
is all the synthesizer you'll ever need.
Figure 10. Multiple QSynth Engines
By the way, if you want to expand your collection of soundfonts, be sure
to check out the listings at Hammersound (see Resources), which link to
some excellent free fonts. You might also want to peruse the
Linux Audio
Users mail list archives for links to free fonts. Some list members have designed fonts for
truly free redistribution, but the community still needs a truly free
and open-source general MIDI soundfont.
Back to JACK
At this point, return to QJackCtl and start the JACK server if it isn't
already running. Click on the Connections button and select the Audio tab
to make your JACK audio connections. Figure 11 illustrates one arrangement
of multiple QSynth engines with independent output ports connected to
the ALSA PCM input ports; it's a good example of how QJackCtl simplifies complex
routing arrangements.
Figure 11. Audio Connections in QJackCtl
Now select the MIDI tab to set your MIDI connections. Here we find the
same flexibility found in the audio tab, as shown in Figure 12. In that
screenshot the input from my physical MIDI port--SBLive with adapter
connected to a Casio CZ101 MIDI keyboard--is routed to the first QSynth
engine. The first ALSA virtual MIDI port is connected to the second
QSynth engine and to the EMU10k1 synthesizer on the SBLive. Finally, the
last virtual MIDI output port is connected to the third QSynth engine
and to the EMU10k1 synth. Again, a complex configuration is simplified by
using QJackCtl.
Figure 12. MIDI Connections in QJackCtl
Click the Patchbay button to view, edit and save/load your audio and
MIDI connections as user-defined presets. Figure 13 illustrates this
neat feature, showing the Patchbay preset defined for the connections
in Figures 11 and 12.
Figure 13. QJackCtl Patchbay
We've made QSynth's audio and MIDI connections, so now it's time to put
them to use. Figure 14 illustrates seq24 using QSynth with multiple engines,
with each engine driven by a separate sequence in seq24. Remember, seq24
makes its MIDI connections internally, there's no need to use the MIDI
Connections tab in QJackCtl. QSynth autoconnects to the ALSA PCM
input ports, but you need to reconnect if you want to route QSynth's
output elsewhere. Figure 14 also demonstrates such a connection, with one
engine's output routed to a LADSPA effects processor in the JACK Rack,
the output of which is sent to the ALSA PCM ports.

By the way, the screenshot in Figure 14 is included for demonstration
only. QSynth's own effects processors, reverb and chorus, are quite
serviceable, but they're not going to equal the
performance of a dedicated software or hardware processor.
Figure 14. A Complete Mini-MIDI Studio for LinuxThe Final Mix
QSynth and QJackCtl are essential components of my Linux sound studio,
and I certainly can't imagine working in X without them. Yes, you can
do everything with their host applications at the command prompt. But,
these helpful GUIs make the work much easier, which means I get
to make music with less hassle in configuring the gear.

These applications are easy to learn and use, and they serve their humble
purposes simply and directly, so there's not much to criticize in QSynth
or QJackCtl. I'd like to see MIDI activity indicators in QJackCtl,
perhaps in the MIDI connections tab, but that's hardly a pressing need.

So how does this little studio sound ?
Check out the demos
and let me know what you think. Personally, I'm impressed by the power now available to Linux
musicians. I hope this article has revealed some of that power to you.
Acknowledgments
The author wishes to thank Peter Hanappe and all the other developers of
fluidsynth for that marvelous software. Vast thanks also to Paul Davis
and all JACK developers for one of the finest achievements in open-source
audio software. And of course, great thanks to Rui Nuno Capela for his
work on QSynth and QJackCtl.
Resources
QSynth

QJackCtl

Fluidsynth

JACK

seq24