Roland Juno-106

The Roland Juno-106 is an analog polyphonic synthesizer released by Roland Corporation in February 1984. The Juno-106 was the third model in Roland's Juno series of analog synthesizers following the Roland Juno-6 and Roland Juno-60, with whom the Juno-106 shared many common features and components, with the notable differences of MIDI connectivity and more than double the patch storage, all housed in a cosmetically updated modernized chassis. The Juno-106 was Roland's best-selling synthesizer until its numbers were surpassed by those of the D-50 later the same decade.[2]

Roland Juno-106
Technical specifications
Polyphony6 voices
Oscillator1 DCO per voice
(pulse, saw, square and noise)
LFOtriangle with delay and rate
Synthesis typeAnalog subtractive
FilterAnalog 24dB/oct resonant
low-pass, non-resonant high-pass
AttenuatorADSR envelope generator
Aftertouch expressionNo
Velocity expressionNo
Storage memory128 patches
Keyboard61 keys
External controlMIDI

Features and architecture

Sound generation

Like its predecessors in the Roland Juno family, the Juno-106 has a fairly simple synthesis architecture that is clearly laid out with sliders and switches for control. The simple architecture and well-designed workflow offers ease in programmability. The Juno-106 has a distinctive sound, and excels at producing desirable analog tones like rubbery basses, synth pad washes, sharp-attacked synth stabs, and PWM (Pulse Width Modulation) sounds.[3]

The central tone-generating component of the instrument is a set of 6 digitally controlled oscillators capable of producing sawtooth and square/pulse waveforms, along with an audio square wave sub-oscillator plus noise. The Juno is well known for its -24 dB/octave analog lowpass filter with adjustable resonance, which has been said to provide the Juno 106 with its distinctive rich sound, when combined with the tone of the MC5534 wave generation modules.

The instrument's VCA can be switched between simple note gating or envelope-controlled loudness with a switch. The same envelope can also modulate the filter's cutoff frequency, in normal or inverted polarity. The filter cutoff can also track the keyboard to allow high harmonics to be heard on higher-pitched notes.

Other features

The Juno-106 features an onboard analog stereo chorus effect, which is a fairly distinctive aspect of the instrument's sound. The Juno-106's chorus is based on a set of bucket brigade delay (BBD) lines similar to other Roland products of the time including guitar pedals. The Juno-106 also contains 128 internal memory slots for patch storage as well as surprisingly complete MIDI implementation - a rarity for any synthesizers of the time, let alone analogue ones. Compared to the 60 and 6 juno models the editing controls (sliders and buttons) on the synthesizer are capable of transmitting and receiving MIDI SysEx commands, allowing complete control and more advanced MIDI based modulation of the instrument via a sequencer or computer.

Furthermore, this synthesizer features polyphonic portamento, also rather rare for a 1984 analog instrument (Kawai SX-210 -1982- and SX-240 -1983- had already portamento).


The Juno-106 was the third in the Juno series of 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 with hold button 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, along with much higher patch storage (128 spaces vs 54 on the Juno 60 and none on the Juno 6).[4]

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 vintage 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.

Notable users

The Juno-106 was popular with artists such as R.E.M. (Ken Stringfellow played it live on some tours), Vince Clarke, Frankie Goes to Hollywood, Leftfield, William Orbit, Tangerine Dream, Underworld, and Vangelis.[5]

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 Son Dexter, The Black Eyed Peas, Blue Nile, Steve Adey, Franz Ferdinand, Covenant, Clarence Jey, Daft Punk, Dosh, Moby, New Order, 808 State, The Chemical Brothers, Chvrches, Justice, Jessy Lanza, 2-D of Gorillaz, Mutemath, Sigur Rós, Solemn Camel Crew, Capital Inicial, Doll Factory, Islands, Legião Urbana, RPM, the Unicorns, Steve Hillier of Dubstar, Pet Shop Boys, Mansun, a-ha, Laserdance, Late of the Pier, the Automatic, Tame Impala, Four Tet, Pivot, the New Deal (band), Andy Kuncl, Howlermonkey, Winter Palace, Passion Pit, Bleachers (band), Voyag3r, Chromeo, Dallon Weekes and scores of other projects. Joanna Newsom played the Juno 106 on her album Divers for the songs 'Anecdotes' and 'You Will Not Take My Heart Alive'.


Because of the commercial success of the Juno-106 and its predecessors, they are more easily obtainable than a number of other synthesizers with similar features and traits and are traded among synthesizer aficionados with relative frequency. They are generally highly sought after and well-respected instruments due to the easy-to-program simple hands on interface, generally robust physical build, and very musical sound with stable tuning.

The "Juno" name has also become somewhat fashionable and desirable in recent years, the 106 in particular being used by a large number of credible and influential producers and musicians, this contributes to the enduring popularity and respect of these synthesizers.

One common problem nowadays are 'dead' voice chips, in which one or more of the 6 available notes fail and sound silent, quiet, or crackly. The Juno-106 contains a custom hybrid integrated circuit for each of its six voices, the Roland 80017A VCF/VCA IC. Over time, these ICs tend to become intermittent or fail outright. Because they are no longer manufactured, third-party substitutes have become available. In recent years, some people have successfully repaired these hybrid ICs by removing the conformal coating of resin that is sometimes implicated in their failure. Numerous videos demonstrating this can be found on the internet.[6]


  1. Forrest, Peter (1996). The A-Z of Analogue Synthesizers: Part 2: N-Z. Devon, England: Susurreal. p. 64. ISBN 09524377-1-6.
  2. Colbeck, Julian (1996). Keyfax Omnibus Edition. Emeryville, CA: MixBooks. p. 104. ISBN 0-918371-08-2.
  3. Colbeck, Julian (1996). Keyfax Omnibus Edition. Emeryville, CA: MixBooks. p. 104. ISBN 0-918371-08-2.
  4. Colbeck, Julian (1996). Keyfax Omnibus Edition. Emeryville, CA: MixBooks. p. 104. ISBN 0-918371-08-2.
  5. Peter Manning, Electronic and Computer Music, page 297, Oxford University Press
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