Juno-106 Vs. Juno-60: How Do Legendary Synths Stack Up?

The Juno-106 and Juno-60 are two of the most beloved and iconic analog synthesizers ever made. Developed by Roland in the early 1980s, these synths are known for their rich, warm analog sound and have been used by countless artists over the years.

But how do the Juno-106 and Juno-60 compare? Let’s take a detailed look at the similarities and differences between these two classic instruments.

Brief Comparison Table

Feature	Juno-106	Juno-60
Release Year	1984	1982
Polyphony	6 voices	6 voices
Oscillators	1 DCO per voice	1 VCO per voice
Filter	24dB/octave	12dB/octave
Effects	Chorus	None
Memory	128 patch memory	56 patch memory

The Juno-106 was the successor to the Juno-60, building upon it with a few key enhancements. As the comparison table shows, the core features like 6-voice polyphony remained the same, but the 106 added a deeper 24dB/octave filter and built-in chorus effect. It also expanded the patch memory dramatically. The 60 relies on single VCOs while the 106 uses digitally-controlled oscillators (DCOs).

Now let’s dive deeper into the details and sonic impact of these differences.

Oscillators: VCO Vs. DCO

One of the major differences between the Juno-60 and 106 lies in their oscillators.

The Juno-60 uses Voltage Controlled Oscillators (VCOs). VCOs generate the raw waveforms that create the sound by oscillating at a frequency controlled by a voltage. VCOs exhibit some natural instability and drift, resulting in a vibrant, organic sound. This instability contributes greatly to the Juno-60’s warm analog character.

In contrast, the Juno-106 employs digitally-controlled oscillators (DCOs). DCOs convert the analog control voltage input to digital signals to control the pitch and waveform. This makes them far more stable than VCOs. While some feel DCOs sound more sterile and clinical than VCOs, the Juno-106’s well-designed DCOs are quite rich and full. But they tend to sound more “perfect” compared to the 60’s lively, unpredictable VCOs.

So in summary, the 60’s VCOs provide a more vibrant and animated sound, while the 106’s DCOs have a slightly cleaner and more stable timbre. Which is better comes down to personal taste. For many, the 60’s searing VCO sound gives it the edge. But the 106 is no slouch in the oscillator department either.

Filter: 12dB Vs. 24dB

The filter is responsible for shaping the overall timbre of the sound. Both Junos feature resonant low-pass filters, but there are major differences:

• Juno-60: 12dB/octave filter
• Juno-106: 24dB/octave filter

The slope of the filter determines how drastically it cuts high frequencies. The 106’s 24dB filter cuts frequencies twice as sharply as the 60’s 12dB design, making it capable of more dramatic sound shaping. The 24dB filter can remove more brightness and give sounds a deeper, darker, warmer quality.

In addition, the 106’s filter uses a completely different circuit than the 60’s. It tends to sound smoother and fuller in the low mids compared to the 60’s edgier, rawer filter sound. The 106 filter is great for basses, while the 60 excels at aggressive leads.

So in summary, the Juno-106’s 24dB filter gives it more versatility, allowing thicker, fatter tones ideal for bass and pads. But the 60’s 12dB filter has its own distinctively aggressive character perfect for searing leads. Once again, it’s a matter of taste which filter sound you prefer.

Effects: Chorus Vs. None

Here’s one area where the Juno-106 has a clear advantage – it includes a built-in chorus effect, whereas the Juno-60 has no effects.

Roland’s BBD (Bucket Brigade Device) analog chorus adds beautiful depth, shimmer, and spaciousness to the Juno-106’s sound. It’s a big part of that quintessential 106 character. Chorus works fantastically on pads, strings, and even bass sounds.

Of course, you can process the Juno-60’s sounds externally through chorus pedals or effects units. But having that lush onboard chorus effect gives the 106 a major edge in effects. It simply has a bigger, wider sound out-of-the-box.

Sound Comparison

Now let’s summarize the tonal differences:

• Juno-60 – Raw, immediate sound. Aggressive filter great for leads. Organic VCOs add vibrance and instability. No built-in effects.
• Juno-106 – Smoother, warmer, and more full-bodied sound. Versatile 24dB filter for great basses/pads. Stable DCOs sound cleaner. Onboard chorus effect adds spaciousness.

So in terms of sound, the Juno-60 excels at unapologetically bold leads and FX. The 106 is more well-rounded, with its deeper filter, lush chorus, and thicker overall tone. But both are capable of a wide range of sounds, from rich pads to searing solos.

Other Differences

Aside from their core sound engines, there are some other important differences between the Juno-60 and Juno-106:

• Patch Memory: The Juno-60 can store 56 patches while the Juno-106 boosts this to 128 patches. The extra memory is certainly handy for storing more sounds.
• Portamento: The 106 adds a portamento (glide) circuit for pitch slides between notes. It’s great for solo parts and basslines.
• Chorus Parameters: While the choruses sound similar, the 106 gives you some control over the chorus rate and depth. The 60’s chorus effect is fixed with no adjustments.
• External Control: The 106 can be controlled externally using MIDI or Roland’s proprietary DCB interface. The 60 lacks these external control options.
• Buttons Vs. Sliders: The Juno-60 uses buttons to adjust parameters, while the 106 uses sliders. Sliders allow for more realtime manipulation.

So in terms of functionality, the 106 expands upon the 60 with deeper patch storage, portamento, external control, and more hands-on sliders. But the 60 is still easy to program despite its button-based interface.

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Prices And Availability

The Juno-60 and 106 have both risen steadily in price in recent decades due to their legendary status. Expect to pay around $1500-2000 for a Juno-60 and $2000-3000 for a Juno-106 in good condition. The 106 tends to go for a bit more due to its expanded features and chorus effect.

Availability depends heavily on your region. In North America and Europe, the Juno-106 seems to pop up more frequently on the used market compared to the 60. But in Japan, the 60 is much easier to find. So it pays to keep an eye on international sellers and auctions if looking for either of these classic Junos.

Who Used The Juno-60?

Thanks to its bold, brash sound, the Juno-60 became a favorite among many new wave, synthpop, and electronic artists in the 80s. Here are some famous Juno-60 users:

• Duran Duran – Nick Rhodes used it extensively to create their lush, melodic sound.
• Depeche Mode – Martin Gore relied on the Juno-60’s edgy leads and textures.
• Tears for Fears – Roland Orzabal used it as a songwriting tool and for bass sounds.
• Thomas Dolby – It features prominently on hit songs like “She Blinded Me With Science.”
• Gary Numan – His signature synthpop sounds depend heavily on the Juno-60.
• Ultravox – Billy Currie employed it for a more futuristic evolution of synthpop.
• Eurythmics – Dave Stewart and Annie Lennox used it all over their 80s classics.

So the Juno-60’s bold character was an integral part of the 80s new wave and synthpop sound. It contributed to many iconic recordings.

Who Used The Juno-106?

Thanks to its versatility, choir-like chorus, and punchy bass, the Juno-106 became massively popular among pop, dance, and R&B artists in addition to electronic genres:

• Janet Jackson – Jimmy Jam and Terry Lewis used it on many of her hits.
• Whitney Houston – A backbone of her 80s blockbuster albums.
• Phil Collins – His “80s drum sound” relied heavily on the Juno-106.
• Stevie Wonder – The 106 features on most of his classic 80s albums.
• Lisa Lisa & Cult Jam – provided the lush pads on “I Wonder If I Take You Home”
• A-ha – Magne Furuholmen used it for much of their synthpop sound.
• Pet Shop Boys – Neil Tennant called the 106 his “absolute favorite synth.”

So the versatile Juno-106 found its way onto tons of hit records in the 80s and beyond. Its sound personifies the glossy pop and R&B of the era.

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Conclusion

The Juno-60 and Juno-106 have earned their places in synth history. With its raw VCOs and aggressive filter, the Juno-60 growls with an edgy 80s attitude. Meanwhile, the more refined Juno-106 offers punchy bass, lush chorus, and smoother tones that helped define the 80s pop palette.

Both of these instruments deliver legendary Roland analog sound, so it’s really about choosing the character that fits your music best. Whether you crave the snarl of the 60 or the sheen of the 106, you can’t go wrong with either of these classic Junos!