Posts Tagged ‘Roland Juno-106’

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Roland Wants Videos of Junos New and Old; A Look Back at the Juno Line

April 22, 2009

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JUNO-106, as captured by cicciostoky

Roland is holding a YouTube video contest to get people to show off their JUNO keyboard synths. They’re not just talking the currently-available Roland keyboards that wear the JUNO badge, but the classic models going back to 1982.

“How Do You JUNO?” Video Contest [Roland US]

I like to disclose our partnerships upfront, so in the interest of disclosure: Roland US is currently promoting this campaign on CDM – thanks, Roland, for supporting the site. I can also tell you that personally, selfishly, I’d really love to see some great JUNO videos up on that YouTube channel, and that I suspect the take of some of you readers will be different. Also in the interest of really full disclosure – yeah, okay, I’m partial to the vintage JUNO. That’s my own personal bias. But I’m eager to see videos of whatever you’ve got. (Also, the JUNO-G is one of my favorite mainstream keyboards at the moment, for reasons I talk about below – it has the advantages of a workstation, like the ability to load custom waveforms and do onboard audio recording and sequencing, but without some of the bells and whistles a lot of us don’t want.)

JUNO History

I think it’s worth reviewing the history of the JUNO line. What it’s meant to be a “JUNO” has changed pretty radically over the years; a JUNO-D and a JUNO-6 might not recognize each other. It reflects some of the changing tastes and technologies in the industry. Sometimes that represents forward progress — hooray, MIDI and patch memory! But sometimes something is lost. The analog original is something special, and even Roland wound up bringing back retro-styled front-panel editing, missing on the JUNO-D, to the JUNO-G and JUNO-STAGE. It’s not about nostalgia: it’s about making something musically productive. In some ways, that’s brought us full circle.

Mirror, mirror: JUNO-6, photographed by p caire.

1982: JUNO-6, JUNO-60. The original JUNO was a six-voice polyphonic analog synth. The distinctive, punchy analog sound was so beloved, it even inspired a meticulous emulation on a dedicated Linux machine. It also introduced Roland’s friendly-looking panel layout approach with big, clear labels and a spacious setup – something to which Roland themselves have recently returned. The JUNO-60 added patch memory storage. No MIDI, although there Roland later produced add-on hardware for MIDI control.

Roland generations: the JX-8P was the successor to the first commercially-available Roland MIDI synth (JX-3P). You can also see how the JUNO-60 compares to the size of the JUNO-106 at top. Photo: Soundingblue.

1984: JUNO-106. The 106 has a special place in history, not only a favorite of the 80s but ever since – it’s got six analog voices as on the original JUNO, plus one digitally-controlled oscillator per voice, but adds MIDI control. It sounds great and it’s dead-simple to use. It’s also a nice choice if you’re looking to pick up an 80s keyboard as it’s a good value today as it was when released. In a world in which “vintage” often translates to elite and expensive, the JUNO-106 is one of the great populist keyboards of all time. Note that if you are looking to pick up a used 106, our friend James Grahame from Retro Thing notes tells me the voice chips are starting to die. Buyer beware: owning a used synth can be like owning a used car.

The Roland Jupiter, not the JUNO, went down in history as one of the two first synths to connect in public via MIDI – at winter NAMM, January 1983, connected to a Sequential Prophet-600. But the JUNO-106 was still one of the Roland products that helped popularize MIDI.

Digital oscillators + analog filters. Odd that we don’t have more synths like that today, in fact. Photo: ALERT ALERT.

1986: Alpha JUNO 1. The Alphas are smaller, and eschew physical controls for LED and minimalist button selections – there was something about the mid-1980s that did that to synth design. But you can add on a PG-300 controller for additional controls, the Alphas are MIDI-friendly, and not hard to find these days. They maintained the distinctive JUNO sound and have been a favorite in the techno scene ever since.

Alpha JUNO 2. The Alpha 2 hits a nice sweet spot as a controller: aftertouch, 61-note keyboard. That could make it a decent choice on your keyboard rack even today.

The New JUNO Models

2005: JUNO-D. The JUNO-D is a budget wavetable synth, and as such, really the odd man out here. The connection to the original JUNO is presumably that it’s a friendly synth with some favorite sounds, and it does support a computer editor. There are also front-panel envelope controls. But it’s the more recent JUNO models that have brought back more of the original spirit of the JUNO. The JUNO-D has “JUNO” printed on it, but otherwise, while a solid entry-level keyboard, it lacks a lot of the features that make the other modern JUNO line appealing.

JUNO-G, at home in the studio. Photo: Claudio Matsuoka.

2007: JUNO-G. The JUNO-G is quite a lot more interesting if you’re interested in doing some real programming and live performance. It’s a workstation, though without some of the arranger features that are superfluous to many of us. You get the Fantom-X synth processor, but with easily-accessible front-panel editing controls and a layout inspired by the original JUNO. There are also some nice gigging features, like onboard audio/MIDI recording, 16-part MIDI sequencing, and a slot for flash memory. It’s also got additional controller features, like a D-Beam, plus USB connectivity. I reviewed the JUNO-G in summer 2007 for Keyboard Magazine. I was especially attracted to the ability to use your own waveforms as the basis of sounds, and to the front-panel editing and sequencing/recording features.

Version 2 of the JUNO-G recently added waveform editing.

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2008: JUNO-STAGE. I quite liked that the JUNO-G is light, but the JUNO-STAGE gives you a 76-note, semi-weighted keyboard and additional performance controls. It gets rid of some of the sequencing and workstation features of the JUNO-G, but if you want to do all your sequencing on computer, that may not matter. The idea of the STAGE is really focused on live performance controls. Like the JUNO-G, it’s the soul of a Fantom-X in a different package, but that package is more narrowly-focused in a way that can appeal for live playing.

Modern JUNO Portal at Roland

Source: http://createdigitalmusic.com

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Artist Profile: Deadmau5

January 9, 2009

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If you are Joel Zimmerman, aka Deadmau5, your very own giant-eyes-strobing Mau5head is just one sign of your increasing popularity and power. The 28-year-old Toronto native wields the Mau5head like some Daft Punk genetic mutation, but his music is anything but derivative. Deadmau5’s second artist release, Random Album Title (Ultra, 2008), confirms Zimmerman’s growing rep (as if his numerous Top-10 singles and globe-hopping club schedule didn’t) as a shape-shifter of enormous melodic progressive trance skill.

Mystery Achievments

“I am big fan of mystery pedals,” Zimmerman says from a San Francisco hotel at the start his latest world tour. “I like those gray tin boxes with knobs, and you don’t know who made it or where it came from. I find them in these shops in Toronto where they sell these strange pedals. You just feed something in, and it comes out sounding a lot different.”

Soft synths be damned, Zimmer-man uses a combination of Minimoog Voyager, Moog Little Phatty, Minimoog, Roland Juno-106 (“the chorus is crazy”), Sequential Circuits Prophet T8 and “a cool German one called ‘MSB synth.’”

“I am hard-pressed to listen to any piece of music and know exactly what they are using unless it is obvious presets, which does happen a lot in electronic music,” Zimmerman muses. “But the whole thing with analog versus soft synth sounds: You can totally synthesize everything and have it sound different depending on how you process it. I’ve spent money getting a sound that was probably very achievable by doing something else, but I like a knob in my hand. Not so much the mouse and drawing. The filter sweeps and the crazy synth rises in my music — it’s all handcrafted. I turn the knob. You can hear the mistakes. They’re not mistakes, but you will hear it dip and rise accidentally if I wiggle my hand.”

Those wiggles can be heard in “Sometimes Things Get, Whatever.” After a breakdown, an ugly Moog Voyager line rises like a grinning, ghoulish monster. “You can’t get that by drawing a line from zero to 127 in Ableton,” Zimmerman declares. “It’ll just be perfect. I like using hardware and mystery pedals and crazy LFOs that aren’t bang-on synced with the application. A lot of my LFOs I guessed at or got it as close as I could and cut it later.”
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The Maus and the Moogfooger
Moogerfoogers — all of them — figure prominently in the Deadmau5 aesthetic. As with his Moogs, Mau5head and Monome 256, Deadmau5 refuses to leave anything alone, befitting his early years as a programmer.

“I have three MF-107 FreqBoxes and doubles of other Moogerfoogers for stereo,” Zimmerman says. “The 107 is an FM modulator that takes in a carrier or outputs an oscillator. It’s really neat. The idea with the Moogerfoogers was to build a modular system, so you could spend two hours wiring to get one sound, but you can never get it back. The only way to save a preset is take a photo. But it is nice to make one feature sound for the whole track. The sound in ‘Hi Friend’ is that, a chirp, or noise on every upbeat. That was the result of me mucking around with the Moogerfooger and running an oscillator through another synth through it. It’s a great sound.”

Deadmau5 uses multiple sequencers, including Ableton Live, Propellerhead Reason, Steinberg Cubase and FL Studio. D.I.Y. seems to be the Mau5-mantra, using whatever works to make his music unique. “I use Fruity Loops ’cause it’s really quick for some things,” he explains. “The piano roll is so fast, and drawing in notes in Ableton or Cubase seems like such a chore by comparison to FL Studio. I use Reason for its effects and embedded instruments because they don’t support VST, but I ReWire it if I want to use the Thor or Subtractor synths. They’re just extra toys to throw in the mix and make little clips that you can add to your production.”
DEADMAU5 LIVE

Speaking of toys, the Mau5head is yet another element in the Deadmau5 arsenal; it lets the naturally shy Zimmerman hide out incognito. Of course, the Mau5head’s strobing eyes are the result of tinkering.

“There is a guy named Bert Schiettecatte who founded Percussa ( article coming soon on these), a music hardware and software company whose first product is AudioCubes,” he explains. “The cubes by themselves interact with each other and trigger different clips or patterns via proximity or color, and there are a couple of LEDs inside. I had the wiseass idea to buy a couple cubes, rip them apart and use the LEDs in the chipset and put them in the eyes of the Mau5head. My head is USB powered, which is perfect. I do light sequences that are in time with the music. They are controllable through MIDI, so I just chose different sequences from the [JazzMutant] Lemur to tell Live to send MIDI to the AudioCubes that light up in my head. They match the music; I write little clips that match the song.”

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In similar deconstruction fashion, Deadmau5 uses a Monome 256 as a controller to do everything from creating beats to executing manic melodies. The Monome 256 ships sans manual, diagram or instructions of any sort — all the better for the enterprising Mau5 among us.

“You have to make it work for you,” Zimmerman says. “You can’t just take it out of the box and go to town on presets. But you treat it like any other device that triggers another application. Basically, you freestyle and hammer away at any of the 256 buttons to trigger a sound like a drum kit into Ableton Live. But for the techno, you will want to have that sequence in a way that things get quantized and maybe have an LED row scroll back and forth and do a certain sequence of sounds, perhaps over a bar in a loop, and you want to be able to use other keys to modify that loop to have it play in reverse order or random order or whatever. It all comes with the development of custom VST software that communicates to the device before the device communicates to Ableton Live to trigger these sounds. So my partner in crime, Steve Duda, has come up with Molar; it’s a VST port of a Max/MSP replacement for the Monome 256 for Ableton Live. It lets you re-chop, re-sequence, re-slice a wave loop or trigger one-shots or send MIDI notes. You would never rig it up the same way twice, which is fun.”

The Mau5 Muses
Where does a successful Mau5 go from here? Zimmerman has plans to further alter his live DJ experience, and his ongoing collaborations with WTF? and BSOD (with Steve Duda) keep his head spinning. Otherwise, Zimmerman’s diet of Coke Classic (one case per track) should keep him energized enough to do battle with any DJ foe or Energizer Bunny.

“I’ve got the world’s only MIDI-controllable mouse head, so that’s cool,” he says with a laugh. “I want to start including more cool gear that interacts with the sound and the audience. But as far as defining my sound or popularity, maybe it’s the head. I don’t know what it is. I don’t want to look a gift mouse in the mouth.”

‘Random’ album equipment
Computers, DAW/recording software

Ableton Live software

(2) Apple MacBook Pro

Custom PC: Quad Core 3.2 gig Intel CPU, Alesis motherboard, 5 TB hard drive

FL Studio software

Steinberg Cubase software
Synths, software, plug-ins

Moog Little Phatty, Minimoog and Minimoog Voyager synths

Native Instruments Reaktor, Kontakt, Battery and Traktor software

Propellerhead Reason Thor and Subtractor soft synths

Roland Juno-106 synth

Sequential Circuits Prophet T8 synth
Effects

Moog Moogerfoogers: MF-101 Low Pass Filter, MF-102 Ring Modulator, MF-103 12-Stage Phaser, MF-104Z Analog Delay, MF-105 MuRF, MF-107 FreqBox, CP-251 Control Processor
Controllers, DJ mixer

Allen & Heath Xone: 4D DJ Mixer and Controller

JazzMutant Lemur

Monome 256

Percussa AudioCubes

Pioneer DJM-800 DJ mixer

Monitors
Genelec 8050As

Source: Remix