During this interview RA asks him following question. And then there is a picture of his Roland Juno-60 "Do you remember how you picked up your Juno-60?" "I think it was a trade. My friend had a Juno-106, and I thought that was really cool. But then when I traded for a Juno-60 and I plugged it in for the first time, I was like "Oh my God, this is like 20 times better." It was simpler than a Juno-106, and you do less on it but the sounds were warmer and had more of a personality"more
"As for hardware synths, Rjd2’s Clavia Nord Lead Electro, Korg Polysix, Yamaha CS-80 and SY-2, ARP Pro Soloist, and Moog Minimoog provide color to his beat-pulsing tunes. The “synth room” holds an ARP 2600, Moog Polymoog, Sequential Circuits Prophet 5 and Prophet T8, Rhodes Chroma, Oberheim Matrix 12 and Oberheim OB-Xa, Roland Juno-60, Elka Rhapsody 490 String Machine, and Elka Synthex."more
In this Audient Producer Profile from [Audient's Official Blog](http://blog.audient.com/post/96087135159/audient-producer-profile-shook), Shook is asked: "Q: What’s your synth setup? A: I really love old synthesizers and new ones. For my album, I used a lot of [Prophet 08](http://equipboard.com/items/dave-smith-instruments-prophet-08-synthesizer), Juno 60, [DX7](http://equipboard.com/items/yamaha-dx7-synthesizer), [Arturia Minibrute](http://equipboard.com/items/arturia-minibrute-analog-synthesizer) and some old string synthesizers like the Korg PE-1000."more
The Roland Juno-60 is a popular 61-key polyphonic synthesizer introduced by Roland Corporation in September 1982 as a successor to the Roland Juno-6 (that's similar to Roland Juno-60) (1982), which had been on the market since February that year. Like its predecessor, the Juno-60 is essentially an analog synthesizer with digitally controlled oscillators. Roland was losing market share with the Juno-6 in competition against the Korg Polysix. Related in features and price-class, the Polysix featured programmable patch memory, which the Juno-6 lacked. Programmability and external control (via Roland's proprietary Digital Communications Bus (DCB)) were added to the Juno-6, which was then re-introduced as the Juno-60 (which sonically and architecturally did not change notably from its predecessor). Production of the Juno-6 ceased in August 1983.more
"My TX rack I used quite a bit. I MIDI'd my MiniMoog and that is fabulous. It really sounds great, and the MIDI on it is really fast. My old Juno 60 is still there, which isn't MIDI'd at the moment but I plan to get it done. The TR808 I used, which is MIDI'd, and a bit of the D50 - there are some good guitar-type sounds in there. I also like the Roland MKS50, which is a rack-mounted analogue synth module. The Korg SG1 piano is very good, and has some excellent sounds, and obviously the Mac. For effects I used the Lexicon 224 digital reverb, AMS, Yamaha SPX90, Klark Teknik reverb, Korg digital delays... the usual things, nothing exotic."more
Richer, better, nicer, more reliable compared to the 106. The Juno 60 is a beauty, no doubt. The Juno 60 made me realize that it's about time I'd get rid of all those silly budget analogs and start upgrading to the real thing... The JSQ60 kinda sucks, but it came with the juno 60 so I won't complain. I did get me a Roland MD-8 midi -> DCB interface, to have some midi control (note on and of ;) ) over my Juno60. Working with the arp triggered by a tr-707 was really workable, but it's a shame to use this lovely synth only monophonic. I got the MD-8 for a nice price, but there are better interfaces around. Nice thing however about the MD-8 above other interfaces is that it works two ways: you can also set it to DCB -> midi.more
GIORGIO MORODER RARE SYNTHESIZER COLLECTION US sample CD manufacturers Hollywood Edge produce a sample CD featuring Moroder's favourite synths. Giorgio Moroder Rare Synthesizer Collection contains 970 patches from vintage synths including the OSC OSCar, Korg Mono/Poly, Sequential Prophet 5, ARP 2600, Moog modular, Multimoog, TB303, Oberheim 4-voice, Roland Jupiter 8 and Juno 60, Moog Taurus, PPG 2.3, and the Buchla. It's available on CD-ROM in Akai, SampleCell, and Ensoniq formats. If you're interested, Time & Space, the UK distributors for Hollywood Edge, should be able to get hold of it for you, though it's not an item they carry in stock. Derek Johnsonmore
In the interview "Watermark recording process". The Music Magazine (Australia) July/August 1989 THE SET UP: They use a variety of keyboards but the mainstays are a Yamaha KX88master Yamaha DX7 Emulator 111 Oberheim Matrix synths and Akai S900 but particularly Roland's D50 and Juno 60. Enya: "The Juno is one of our favorites. We had intended to replace its parts with better sounds but we couldn't find better substitutes so we left them in. It's not always possible to have all the sounds I want for a song at the time of composing .I'd usually start with the D50. But most often, sounds suggest parts and the ones I use then are usually used on the final recording. Like on Storms in Africa... that arpeggiated line on the Juno 60 was the basis of the piece." Also mentioned in the cover album Enya - The Celts (1986 / 1992 remastered).more
Q: Every time I've seen you play, you're using a [Roland] Juno-60. Is that your bedrock? A: "It was my dad's. He bought it in 1983, when I was one year old. He bought the Juno because he couldn't afford the Yamaha DX-7, which was like the pop synth at the time." Q: And you just inherited it at some point? A: "Yeah, I really loved it as a child—it looked like a cockpit dashboard. I think it made me resent the Samick piano upstairs. Like, the Juno was in the dark, in a cold basement under a plastic sheet, and the Samick was upstairs and it signified MOM BEATDOWNS. She was my teacher, strict Russian-style, but she let me quit piano, so she wasn't really that strict. Anyway, I started using the Juno in high school. I was in a jam band with my best friends. We wanted to sound like Herbie Hancock Thrust. "more
At 0:33 you can see the left side, which is marked rolland. This appearance is shared by two synthesizers made by roland. The Juno-6 and the Juno-60. The model is marked on the right side, which is never clearly shown. One minor, but visible difference is the size and space of the first section to the left, which is smaller on the 60. This section has much more space between it's component and the next section on the Juno-6, thus, it is a Juno-60 Ebay and vintagesynth.com have some good pictures: Juno-60: http://www.vintagesynth.com/roland/juno60.php Juno-6: http://www.vintagesynth.com/roland/juno6.phpmore
If you care to read a number synth forums around the globe, you'll find (after wading through sometimes too much inane trolling) that the otherwise humble Juno 6 or Juno 60 was the first synth for a significant number of players, and that it still remains a firm favourite in the eyes, hands, and ears of many. Its architecture could not really be simpler: a single DCO with sawtooth, pulse, and a square wave sub-osc with dedicated level control. Pulse width can be controlled manually, or by LFO, or by the envelope. There is a self-resonant LPF and an HPF with a stepped level control. Standard ADSR envelope and two of the popular Roland Chorus effects. There is also an arpeggiator and a transpose function. Sounds basic and probably is, but for reasons that I can't sufficiently explain, there is an intangible friendliness about the Juno - something beguiling (probably not unlike its namesake), something downright decent about it. I would not be without one.
The Juno-60 has sort of a late-70s-sounding vibe, very snappy envelopes. The Juno-106 in comparison, is less earthy and more shimmery. This synth is incredible for simple synth sounds. It always sounds good. The chorus is the best chorus ever made. But even without chorus it's great. It has an instantly recognizable sound and a very addictive feel to it. This is perfcet as a first synthesizer, when you're learning how synthesis works and can't handle complicated modulation options yet. Also fits perfect in a mix.
I've owned a Juno-60 since the mid 90s so its hard to be objective, but it was my first analogue poly, so holds a sentimental place in my heart. Regarding its sound and capabilities this is subjective. It makes nice 'warm/muffled' analogues sounds especially compared to a more 'brittle' sounding Jupiter 6 - but its much more sonically limited than a Jupiter 6. The HPF is 5 stage, stepped rather than smooth (like the 0+/- lock/click on Technics 1210/1200s Im guessing this could be altered nowadays though?), and theres only 1 LFO and no sync.
Q: Would I buy another if mine died or got stolen? Yeah, though Im not sure that todays prices warrant its requirement compared to the latest glut of new analogue polys.