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.
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.
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.
The filter is responsible for shaping the overall timbre of the sound. Both Junos feature resonant low-pass filters, but there are major differences:
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.
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.
Now let’s summarize the tonal differences:
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.
Aside from their core sound engines, there are some other important differences between the Juno-60 and Juno-106:
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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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.
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:
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.
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:
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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The main differences are:
Oscillators: Juno-60 has VCOs, Juno-106 has DCOs
Filter: 60 has 12dB filter, 106 has 24dB
Effects: 106 has built-in chorus, 60 has none
Memory: 106 can store 128 patches Vs.. 60 for the Juno-60
Some key reasons for the Juno-106’s popularity:
Versatile 24dB filter great for basses and pads
Lush built-in chorus creates beautiful textures
More patch memory (128 patches) than Juno-60
DCOs provide stable, rich tones
MIDI and DCB control options
Iconic sound on countless 80s hits
Tons of 80s pop, R&B, and dance artists used the Juno-106 including Janet Jackson, Whitney Houston, Phil Collins, Stevie Wonder, Pet Shop Boys, and A-ha. It’s one of the defining synths of the decade.
The Juno-60 was widely used by new wave and synthpop artists in the early 80s like Duran Duran, Depeche Mode, Thomas Dolby, Gary Numan, and Ultravox. Its edgy sound fit the genres well.
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!
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