"We used a Juno patch as a bass and it's stereo, so it could be cooler because then it doesn't interfere with your kick. This is because your kick stays in the middle and the bass pans hard left and right, and the track breathes more." "At the end of the day, the Juno we've used has come in hand for bass, it's come in handy for chords. If you notice, all of my default bass sounds are just one octave low or one octave high, and they all sound Minimoogish. I like fake Minimoog sounds because they always sound really different. When I want that Minimoog sound I try to recreate it with something else. It always gives something interesting because this one is stereo. It's a bit colder but it's still trying to be the Minimoog."more
"But that's when I heard Daft Punk's first album. Wow! It just blew my mind. It was electronic music, but it was also rock 'n' roll. I went and bought a little computer, Cubase, an Akai S3000, a Roland Juno-106… and, luckily, we still had access to the big studio in Tel Aviv. I was no longer an indie kid. Now, I wanted to make electronic music."more
When asked if he has any advice for up-and-coming producers, the Juan Maclean states, "I'm a big advocate of getting outside your computer, using as much hardware as possible. I made so many tracks with just a few pieces of gear, like my old Akai S1000, Waldorf Q and a Juno 106. Just having stuff like that and a cheap mixer sounds loads better than doing everything in the computer with soft synths."more
In an interview where they sit down with artist [Nicky Romero](http://equipboard.com/pros/nicky-romero), they ask him what pieces of gear in the studio he loves, to which he answers, "The [[Moog] Little Phatty](http://equipboard.com/items/moog-little-phatty-stage-ii-keyboard-synthesizer)." He goes on to say that he records the notes from his favorite preset so that he can use the sounds while producing on the road. Cash Cash confess to doing the same thing with their vintage Roland Juno 106. The full interview can be found [here](http://www.huffingtonpost.com/cash-cash/cash-cash-nicky-romero-ultra-music-festival_b_2990305.html).more
The Juno-106 can be seen in the left side of this photo of Gold Panda; “I just stand there and play it while looking out of the window. It sounds even better when you run it through a tape machine or tape delay. There might be better polysynths, but this is pretty versatile and really simple to use.”more
"This one is missing one voice but it still does the job...ghetto style. I bought it in the mid 90s quite cheaply from some teenage girl who had put all kinds of New Kids on the block stickers on it....it has been serving in the studio since then and it has been used in countless of productions...this is probably my most used synth." via [Legowelt Official Website](http://awolfe.home.xs4all.nl/studiodjuno.htm)more
Villem is asked what his computer/hardware setup is for producing music, to which he replies, "imac 2.8GHz Core i7 32GB Ram Logic 9 Roland Juno 106 Novation Supernova 2 UAD-2 Quad Satellite" (original reddit post [here](http://www.reddit.com/r/edmproduction/comments/2oyxto/i_am_villem_utopia_musicsymmetrysamurai/cms79vs)).more
William Orbit (about the gear he used for the recording session of Madonna's Ray of Light album) : “How did I know you would ask me that? Oh, it’s all in a pile there if you wanna look at it . It’s not a ton of gear. Most of it is pretty retro; a Korg MS-20, a [Roland] Juno-106, a [Roland] JD-800. Much of the album was done on a Juno-106. You can get so much out of that synth. Also a significant amount of it was done on the MS-20 – the more spiky sounds. A few things that people think are guitar are actually the MS-20. And then there were a few more bits and pieces: a few modules, a Yamaha DX7, a Novation Bass Statlon, a [Roland] JP-8000, a lot of Roland stuff. I’ve always liked Roland stuff. ”more
"It's mostly Eurorack, but I have a classic Moog Voyager and a Synthesisers.com set up that emulates the old Moog 5U modular system. Then I have things like the TTSH (Two Thousand Six Hundred), which is an ARP 2600 replica, an original Roland System 100M - I love the way that thing sounds, a Roland Juno-106, a Juno-160 and a couple of Prophet 600s. I also have a Buchla set up, and a Swarmatron, which I use a fair amount as well, so I can kind of do anything I want."more
> For Very they used: > > Korg M1Rs > Akai S1000s > Akai S3000s > Roland S770 > E-mu Systems Proteuses > Oberheim Matrix 1000 > Roland MKS80s > Roland MKS50s > PPG Waveterm > Roland JD800 > Roland Juno 106 > Sequential Circuits Prophet V > Roland R70 > Fairlight CMI > Macintosh running Notator Logic > Dynaudio monitors > > > This is according to Music Technology magazine (Dec 1993)more
Manufactured: 1984-1988 Type: Analogue MIDI synthesizer A classic and very common polyphonic analogue sizer, mainly because it has a quite good MIDI interface and 128 memories. It has got lots of good acid sounds and nice bass sounds. The Juno-106 was the third in the Juno series of digital/analog synthesizers. Its predecessors, the Roland Juno-6 and Roland Juno-60, were somewhat different in appearance than their later sibling, but shared most of the internal components and features in common with the exception of a tradeoff between a simple up/down arpeggiator on the earlier models and a portamento feature on the Juno-106. The Juno-106 also featured MIDI connectivity, rather than the proprietary Roland Digital Control Bus (DCB) found on the Juno-60. Roland also produced a Juno-106 variant with built-in speakers and a slightly redesigned enclosure, intended for the consumer market rather than professional users. In Japan, this version was called the "Juno-106S", and elsewhere in the world it was called the HS-60. The Juno-106 is a unique synthesizer in a large part because it came at a time period when digital synthesizer components were just being introduced, MIDI being the most important, yet it featured the best of the analogue and digital worlds. The Juno-106 was one of the last synthesizers to feature all of its controls as buttons and sliders on the faceplate which allowed for quick programming. The Juno-106 also featured DCOs with an analog signal path including VCFs. This allowed for perfectly tuned pitch with the warmth of analogue waveshaping and filters, along with the drive provided by the VCA. It is because of this balance of analogue and digital that there really is no other synth quite like the Juno-106 and it is still a staple in many studios today. Technical information: Oscillators: 6 DCO's - pulse, sawtooth and square, sub oscillator and noise generator Polyphony: 6 voices 61 keys, no aftertouch or velocity 6 VCF's and HPF's LFO: rate and delay Effects: chorus (rich/harmonic/off) VCA: 1 ADSR envelope (AttackDelaySustainRelease) MIDI: in, out, thru Memory: bank A 88 patches, bank B 88 patches Due to their enduring popularity and despite their overall simplicity and limited range of sonic possibilities, Juno-series synthesizers still make appearances with a number of bands, including Fatboy Slim, William Orbit, Underworld, Leftfield, Fluke, Josh Wink, Todd Terry, Depeche Mode, Apollo 440,Faithless, The Black Eyed Peas, Blue Nile, Steve Adey, Franz Ferdinand, Covenant, Clarence Jey, Daft Punk, Dosh, Moby, The Chemical Brothers, Justice, Jessy Lanza, Mutemath, Sigur Rós, Solemn Camel Crew, Doll Factory, Islands, the Unicorns, Pet Shop Boys, Mansun, a-ha, Laserdance, Uzi and Ari, Late of the Pier, the Automatic, Tame Impala, Four Tet, Pivot, the New Deal (band), Andy Kuncl, Howlermonkey, Winter Palace, Passion Pit, Bleachers (band) and scores of other projects. Liam: "I like the [Roland Juno] 106 because it's so easy to use. I program it for bass lines, but it's better for string sounds."more
Joe mount uses a juno 106 on some of the metronomy albums. It is visible in some pictures of the band in the studio and band member Oscar Cash played it during the "love letters" tour. You can also see the juno 106 in footage of the bands previous tour where it was often brought on stage half way through the show to play some of the songs.more
In an interview, when asked, "Do you tend to upgrade your software and hardware regularly?" Röyksopp answers: > "There is a hunt [for new gear] but we already have quite a lot of synthesisers and so on. It’s always fun to get something new, although we have a few favourites that we always turn to – because we have bought things in the past that we don’t really use that often. We don’t use the Moog that often, but a few of the synths that have always been there - and I guess always will be - are the very versatile Roland Juno-106 and the Korg MS-20; also good for creating effects - even bass lines." Original interview [here](http://www.barcodezine.com/Royksopp%20Interview.htm).more
"I think they really just fit my sound. The 106 I use if I really need to MIDI program something, the 60 if I can play it. I prefer the sound of the 60. It's easy to make a Juno work with strings. If you put the filter really low, they become really warm and soft. I almost always track them through the [Roland RE201] Space Echo — it's like my automatic thing — and that combination, it always works. And it works wonderfully along with strings and piano."more
I ? SYNTHS: Chi è il tuo giocatore preferito sintetizzatore e qual è la vostra azienda sintetizzatore preferito? RetroSound: Vangelis ha una grande influenza del mio lavoro musicale dal momento che so che cosa sono stati utilizzati sintetizzatori. Ho sentito le melodie futuristici in fine degli anni '70 e mi è stato completamente spazzato via. Ho un sacco di epoca Roland sintetizzatori così, quelli sono probabilmente il mio preferito.more
Used for new music project murder tracks
I got my Juno way back in 1995, and it remains a favorite nearly 20 years later. it has a distinctive sound that really has no equivalent in modern synths or plugins — classic Rolands really have their own vibe.
Classic Roland analog sound. Use live mainly for supplementary warm patches in keyboard rig but punchy basses as well. Easy to modify patches. Have KIWI 106 mod which is very worthwhile, and has a helpful computer editor.
The ultimate Juno, and maybe the overall best synthesizer hailing from the excessive 80s. The Juno-106 supports MIDI, is always in tune, and has just about everything any synth lover would ever need.
My first synth. Pretty flexible, and ends up on almost everything I work on. There's a few fun tricks with it, like the double button chorus. I still haven't found a track I've worked on that I didn't love the Juno in the arrangement
So ubiquitous yet ever-inspiring, the 106 is capable of both the quirky and the sublime. Its hands-on controls allow for infinite creative possibilities, and the range of tones, from fat and creamy to hollow and glassy, lends itself to a wide range of music.
The reputation that precedes this synth is true, it truly has a beautiful sound. If it wasn't for the single oscillator this synth may have been considered as good as the Jupiter, however the chorus effect surely stops this synth from being limited. It has nearly full midi implementation which is fantastic for modern usage, and It honestly cannot sound bad. Its sound is so pure its hard to find bad spots about it. The single worst thing about this synth is reliability, the voice chips die, a lot. If you decide you want a Juno be prepared to spend at least 400 dollars over the course of your ownership repairing it. It is not like the Jupiter and Jx-3p which don't have these issues. Regardless though easily a staple of modern electronic music, every producer should have one.
Ive had more Juno 106's than any other Analog synth, and i couldn't justify keeping hold of them as the range of sounds appeared too limited, but after many years and finally coming across the JUNO 60 i quickly realised that the 106 isn't sonically in the same league but it took a long time to find that out. The 60 has a wider fatter sound, bouncy analog, the 106 is a little brittle in comparison, but it really depends what your doing with it, for the music i do the 106 has never been quite suitable.