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A red border on the panel indicated which controls were remembered. #Roland juno 106 patches Patch#The main addition was the patch memory, which memorized all of the voice parameters (but not the arpeggiator parameters). (Later, a DCB-to- MIDI adapter extended MIDI to this synth.) The -60 retained the -6's arpeggiator, keyboard, and performance controls, and the basic voice circuitry was the same as the -6. It also came with the Roland DCB control bus as a standard feature. The most noticeable improvement over the Juno-6 was the 56 patch memory locations. The Juno-60 was introduced a few months after the Juno-6, as a more-featured version (at a higher price) both were marketed alongside each other. Roland Juno-60, courtesy of Audio Fanzine An external clock jack on the rear allowed the arpeggiator to be clocked externally when a cord was plugged into the jack, it overrode the rate control on the panel. A "hold" button allowed an arpeggiation to be latched so that it would continue playing after the performer removed their hands from the keys. Switches on the panel allowed the arpeggiator to act over a one two, or three-octave range select the pattern (up, down, or up/down alternating), and set the repeat rate. The Juno-6 was one of the first lower-priced synths to have a built-in arpeggiator. (A switch in the LFO controls could override the button and apply LFO modulation all of the time.) An octave select switch and a master volume control completed the performance control section. #Roland juno 106 patches mod#In place of a mod wheel, a large white button labeled LFO TRIG would, when pressed, route the LFO to the DCO pitch, pulse width modulation, or VCF cutff frequency, in proportions as selected by controls in the control sections for those components. The performance-control area to the left of the keyboard contained a one-axis pitch stick (it moved left and right only), with two sliders that allowed both the DCO pitch and the VCF cutoff frequency to be modulated by the stick, in various proportions. #Roland juno 106 patches generator#A switch allowed either the envelope generator or the LFO to be routed to the DCO pulse width modulation. The high pass filter was infinitely variable, and a third chorus modulation speed could be had by pressing the chorus I and II buttons simultaneously. (A Roland DCB bus interface was made available as a factory option.) However, it did have a few features that did not carry over to the later models. Additionally, it did not have MIDI, being that the initial specification was still being developed at the time. Aimed at a price point far below the high-end Jupiter-8, it was only a moderate success because it lacked patch memory. The first of these, the Juno-6, was introduced in 1982. The line of slider controls across the top half of the panel is a distinctive feature of the design. All three models were built using the same basic case design, with similar panel layout and graphics. All had six voices, as indicated by the model numbers.Īll Junos had a four-octave, C-to-C, non- velocity or aftertouch sensitive keyboard, and an early version of the Roland pitch stick. The Junos also had, as a global effect, a built-in version of Roland's excellent analog chorus circuit, which added significantly to the synth's appeal. ![]() ![]() ![]() An LFO (producing only a triangle wave) and an ADSR envelope generator are available as control voltage sources the envelope generator was always routed to the VCA, and could be routed to the VCF either inverted or non-inverted. An OTA lowpass VCF, a high pass filter (not voltage controlled), and VCA complete the audio path. The pulse and sawtooth waves are on/off, but the level of the suboscillator and noise can be varied. #Roland juno 106 patches plus#All three Juno models have the same basic voice architecture, with one DCO generating three waveforms: a pulse wave, a sawtooth wave and a suboscillator square wave, plus a white noise generator. ![]()
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