"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
"We used S1000s; Korg T3; Juno 106; Prophet V; Voyetra Eight (best sounding poly analogue, but hard to program); DX5; Moog Source; MIDI Moog; Roland SH101 (red); Roland TR909; MT32; D110; Mac SE; Mac IIex; Sound Tools for stereo mastering, with Up Beat and Pro 4 for sequencing, though we have now changed to another sequencing package as neither of the two used previously worked correctly, a situation which I find extremely annoying."more
"Then I did this other project last year which was a documentary for Red Bull. It's called Distance Between Dreams with Ian Walsh, the star surfer. That was a very soft, ambient electronic score. I did everything live with MIDI and just mixed it on the board and that was the end result. I used the Jupiter-8 for that, the Jupiter-6, the Juno-6 with the sequencer, the MSQ, the Roland 60, the 106, also the GB4, Roland VP-03, the vocoder. I used a Roland S-770 sampler, which has a really great tone to it. A couple of Yamaha synthesizers, the CS-60, the CS-70M—all pretty rare machines to have. But for that kind of stuff they sound so fantastic."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
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
"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
In this Sound on Sound Article it says Mark Ronson uses a Juno 106 . Exerpt: As far as hardware instrumentation at Allido goes, Ronson has a collection of synths and vintage keyboards that are constantly in use, including a Moog Voyager, a Roland Juno 106, a Nord Electro and a Hohner Clavinet D6, alongside his trusty Wurlitzer, Rhodes and upright pianos. "It's cool when you have a keyboard that nobody has or isn't using much any more," he says. "One of them I put all over Robbie Williams' 'Lovelight' is the Roland String Ensemble. It comes in with the second chorus and phases through the whole thing doing the big string line. Then there's the gated sound at the beginning of the track, which is me just scratching a synth sound on a [Pioneer] CDJ1000."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
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
"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
In an interview where they sit down with artist [Nicky Romero](https://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](https://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
What’s your favourite synthesizer? The Monomachine. I use that an awful lot. I have two Voyetras that are getting mended at the moment; I remember them very fondly. But the one that gets the most use is the Juno 106. So I suppose that is me favourite. A close thing between that and the Monomachine.more
Although he uses software synths, Laurent Garnier favours the hardware variety, particularly where lots of knobs and sliders are available. Vintage keyboards in his The Kub studio include Roland Juno 106 and Jupiter 8 and Korg MS20 analogues, plus the under-rated Yamaha DX100 FM synth (bottom right), while Garnier also uses the Kurzweil K2000 workstation (top right).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
> 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
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
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
Used for the keyboards on "Makes Me Wonder", as stated by mix engineer Mark Endert in this September 2007 *Sound on Sound* interview. > “As far as keyboards are concerned, there are probably about four stereo tracks of Juno 106, mainly pads for the choruses, and two stereo tracks of acoustic piano, one with eighth notes in the top end and the other with bass notes played in octaves. We also recorded a distorted Fender Rhodes and a Wurlitzer for the bridge. We played these two keyboards through James’ Orange guitar amp, and this was another element that tied this track to the previous Maroon record.” > (...) Keyboards: Urei 1176, Roland SDE3000, Lexicon PCM42 > “The acoustic piano had a ton of 1176 compression on it and also some slap echo from an SDE3000. I definitely added timed delays from my PCM42s to the Juno 106 pads to keep them nice and full in the choruses. The great thing about the contour of the track is that there are moments when it’s big and then you get sucked down into moments that are tight and small. So when the keyboards change to distorted Rhodes and Wurlitzer in the bridge, they are much more dry than anything else. I don’t think I used plug–ins on the keyboards."more
The MASCHINE has taken its place alongside other new purchases, including a Teenage Engineering OP-1, Universal Audio Apollo and another classic Juno synth, this time a 106, with Ableton Live acting as the central DAW. “It’s a simple set-up,” says Michelle of her current studio, but it is already one that has already been used on new Japanese Breakfast recordings, including 2019 single ‘Essentially’.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
"We also use quite a lot of old stuff, because I've still got things like a PPG 2.2, and we've used a Prophet 5, Juno 106 and Jupiter 8 because there's a lot of arpeggiated stuff. A big problem with a lot of modern sequencers is that you have to write arpeggiation in yourself- there isn't actually a machine which arpeggiates, which is a shame because it's nice when it's more random. We use S1000s, S900s, and an FZ1. I tend to use the FZ1 as my main sampler just because that happened to be the one that I bought."more
Eric Persing has had a unique and influential relationship with Roland Corp for two decades. He started as a product demonstrator in 1984, showing some of Roland's first MIDI instruments. He quickly became involved in the R&D side with Roland Japan, earning the title "Chief Sound Designer", and began contributing his design ideas, real-world studio experience and sound design expertise. Persing's skills have left their mark on countless classic Roland instruments. He is the originator of many legendary Roland sounds that have become part of the vocabulary and lexicon of musical sound. These include the Factory D-50 sounds such as Fantasia, Soundtrack and Digital Native Dance, a majority of the JV/XP/XV series Classics, all the Factory JD-800 sounds, the original Juno "Hoover" sound and thousands of others. Here is a partial list of the Roland instruments that Eric has contributed his sound design, sampling and design consulting skills: Juno-106 Alpha Juno 1&2 JX-3P JX-8P JX-10 Jupiter 6 Super Jupiter D-50 D-550 D-110 D-10 D-20 D-70 MT-32 U-110 U-20 U-220 Sound Canvas JD-800 JD-990 JV-80 JV-90 JV-1000 JV-1080 JV-2080 XP-10 XP-50 XP-60 XP-80 XV-3080 XV-5050 XV-5080 Fantom JP-8000 JP-8080 S-10 S-220 S-50 S-550 S-770 S-760 S-750 MC-303 MC-500 MC-505 VP-9000 MSQ-700 MSQ-100 MKS-20 MKS-30 MKS-50 MKS-70 MKS-80 R-8 R-5 DR-660 DR-770 R-70 V-Drums V-Drums expansion board SRV-2000 DEP-5 RSP-550 R-880 SRV-330 SE-50 SE-70 VS-880 VS-1680 SR-JV series expansion boards SRX series expansion boards Sound Canvas Project series CD-ROM libraries Archives series CD-ROM libraries Composers series CD-ROM librariesmore
"The [Roland] Juno 106 is practically on every track. It was our workhorse when we came to the bass on every track. You can hear it really well on Sunrise, on that classic [early House producer) Mr Fingers sound, which we're constantly referring to on the bass. We would leave the two main oscillators off and use the sub oscillator on the Juno 106 with Chorus Number 2 on. Then lock it into mono. If you do that you get that empty sub sound, which makes it sound bulbous. Pacific comes back in this track, like a motif. But then it takes off in a completely different direction."more
Equipment used on Rick Astley's "Never Gonna Give You Up," which was recorded at Stock, Aitken & Waterman's PWL Studio, included "The Linn 9000, which most sequences and drums were done on, was run from a [Friendchip] SRC synchroniser, and a [Yamaha] DX7 was used for virtually all of the bass lines. There was also a [Roland] Juno 106; a [Yamaha] Rev 5 and Rev 7; Dbx 160 compressors; SDE 3000 delays; an Emulator; and the wonderful Publison Infernal Machine 90, which was the first sampler that could actually pitch?change without really affecting the time signature. You could time?stretch things and make them fit reasonably well — It was a little choppy, but for the time it was phenomenal. Other than that, there was an AMS delay/harmoniser, which always had a number of kick and snare samples, and that was pretty much it."more
According to this article on the making of Goldie's *Timeless* album from the [June 1998 issue of *Sound on Sound* magazine](https://web.archive.org/web/20150416233330/http://www.soundonsound.com/sos/jun98/articles/goldie.html), Playford's studio gear includes a Juno-106 synth.more
Among the key pieces of gear are the Roland Juno-106 synth (which Dikiciyan first used way back on Quake 2), a Moog Slim Phatty for arpeggiated bass parts, the highly-desirable, retro-futuristic OP-1... and an iPad. Dikiciyan calls the iPad "a legit tool to use as a music pro" and notes that he used the Animoog app on "pretty much every single cue."more
According to Babydaddy, the equipment at Discoball Jazzfest consists of a G5 Mac running Logic Pro 7 with assorted plug-ins including the Native Instruments Komplete package, Korg's Legacy Collection, Arturia's CS80V and Gforce's Minimonsta. Hardware includes the Access Virus Indigo and Virus Polar, Roland XV5050, Studiologic SL880 master keyboard, Roland Juno 106 and Novation K-station synths. The band's main microphone is a Neumann M149, which went through the studio's HHB Radius 50, Avalon VT737, or Universal Audio 6176 preamps, and then into their MOTU 828 MkII, with monitoring taken care of by Mackie HR824s.more
"I still have a great love for the old SH09, its big Bro’ the SH2 and its progeny the SH101. But the Roland Juno 106 is still hard to beat. I do still have (hopefully) working examples of ’em all. Although primarily a vintage Roland fan, I do have the odd bit of Korg and Yamaha kit, and of course the wonderfully proletarian Casio VL Tone… required equipment in my League days, we all had one in our make up bags!"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
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
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.
Very simple in structure yet it can generate a myriad of different sounds. No matter how you program it, it sounds amazing. The classic Roland chorus on the 106 is the heart of the synth and does so much for it’s sound.
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.
Limited? Sure, I suppose you could say that. Versatile? Yup. Bass, pads, drums, etc. you could build out a whole ton on just the Juno.
The sound tho...
I keep coming back. Can’t help myself. Wouldn’t want to. While others may offer a more expanded feature set the Juno still holds a central place- it’s almost always where I start.
5 big fat stars. Huge stars.
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.
Doesn`t matter what kind of sound you're looking for, the 106 might deliver it in a second. The sound creation and controls are kind of easy fot an analogue synth, but the sound is absolutely lovely, direct and uncompromised. The "small Jupiter" that also makes usage of "this Roland-sounding filters".
There doesn't seem to be anything else quite like a Juno 106. It can sound soft as butter and as stinging as a buzzing bee. Its got a unique classic analog flavor that can take your sound to many different places.
This board has the best combination of playability, texture creation and versatile parameters of any affordable synth. Its warm pads and bright leads lend themselves so well to many applications.