"A lot of the songs on this record started with the Juno. I've never had a proper hardware polysynth before," says Caribou, in this interview. Early in the interview he specifies that he uses a Juno-106.

Rachel Goswell is stood behind a Juno 106 in this clip.

"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."

At the 2:12 mark of the video Goransson is shown demonstrating the Juno 106, using it for synth bass in Chidlish Gambino's "Redbone"

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."

"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."

#recording #always #juno #juno106 #eventide #H3500

A Juno 106 can be seen in the left side of a photo The Crystal Method tweeted showing their studio during a AMA.

In this collection of photos from King Gizzard's instagram, you can see Stu, Joey, and Cookie all working on the Juno-106.

3:07 into the video "Carl Craig - Modular Pursuits" on Vimeo, the Juno-106 can be seen on the left-hand side of the shot, just left of the Prophet-5.

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."

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.