Roland Juno-60

The late 1970s and 1980s saw the introduction of the first digital synthesizers, such as the Fairlight CMI and Synclavier. Roland president Ikutaro Kakehashi recognized that the synthesizer market was moving away from analog synthesis, but Roland had no commercially viable digital technology. He approached American engineer John Chowning about his recently developed means of FM synthesis, but Yamaha had already secured exclusive rights.[1]

Roland's response was the Juno 6, released in 1982. It used mostly traditional analog technology, with a voltage-controlled filter, voltage-controlled amplifier, low-frequency oscillator, and ADSR envelope generators. However, it also used digitally controlled oscillators (DCOs), analog oscillators controlled by digital circuits. As opposed to the voltage-controlled oscillators (VCOs) of previous synthesizers, which frequently went out of tune, the DCOs ensured tuning stability.[1] According to Sound on Sound, "The Juno 6 was the first analog polysynth that you could carry onto a stage, switch on, and play with complete confidence that the instrument would be in tune."[1] It also included performance controls, an arpeggiator, and an ensemble effect.[1]

The Juno 6 was followed in the same year by the Juno-60, which added patch memory (allowing users to save and re-use sounds) and a DCB connector, a precursor to MIDI.[1] Production ended in February 1984, when the Juno-60 was replaced by the Juno-106.[2]

The Juno-60 was widely used in 1980s pop music, by acts including John Foxx, A-ha, Billy Idol, Berlin, Eurythmics, A Flock of Seagulls,[2] Cyndi Lauper,[3] and Wham!.[4] It was also a key instrument in Chicago house.[2] The 2010s saw a resurgence of popularity among indie and electro acts such as Metronomy, driving up the price on the used market.[2] The Juno 60 was re-imagined and re-released by Roland in 2019 as the JU-06A.[5]