All user reviews for the Roland JUNO-2

See testing

USE

Synth easy to program. Pull-down menu on the screen thanks liquid crystal dial it ... We know and program what we want (within the limits of course) or quibble is based on an existing sound and arrive quickly create large foie well !!!

SONORITS

A real rgal vintage "roland". JUNO probably best to program its sounds ... The memory card allows you to save your sound. In his classic analog style.

NOTICE GLOBAL

Price quality ratio exeptionnel ... You have on hand a good master keyboard, a nice little synth 80's, a true JUNO and an analog synth vintage ... Apart potentiomtre for the games in real time it is really more than very well

The keyboard is quite correct, much better than some of my other synthesizers.

UTILIZATION

Operation is simple but if you do not like me hyper pointy analog synthesis, it is a bit confusing at first. The wheel is Foute, but be aware that it seeks.
I use an app for Ipad edit sounds, and frankly it's super convenient and cheaper than pg.

SOUNDS

The sounds are pretty good, large tablecloths, bass not bad at all, some effects correct.
Sounds relatively large, I was more than surprised.
Ls factory sounds are good starting points. It can sound hyper modern .... actually browsing the sound banks of sounds found in some well known artists!

OVERALL OPINION

I am super happy even if the PG ca be even better.
It sounds really good, seems very solid, has a proper keyboard .... honestly for the price it is deadly!

Features:

Keyboard: 61 keys, velocity, ATM.
Type Synthesis: Subtractive.
Polyphony: 6 voices.
Number of Generators: 1 DCO + 1 sub-oscillator.
LFO 1.
Envelopes: 1.
Filters: PB / PH simplified.
Sounds: 64 presets + 64 prog.
Combis: No.
Split: Yes.
Display: LCD.
Portamento: Yes.
Effects: Chorus.
Audio Outputs: Stereo.
External Storage Cartridge (64 sounds). Sysex.
Sequencer: No.

UTILIZATION

- The config is pretty simple, if we consider the wheel which gave its name to the synth as his girlfriend!
- Manual well-crafted, old ..
- Editing sounds via the interface or pg 300 or one of the various computer app.
- Note the quality of the keyboard, very flexible, the game is really nice.

SOUNDS

- Sounds suit me
- Expression + Velocity (Juno 2 only) and especially the rate of the chorus ADJUSTABLE!
- No effects (well apart Chorus, but it is part of the INTEGRAL circuit synthesis)
- This synth is legendary, we recognize most presets, for those who prefer to use, but its sonic possibilities are finally large enough to tilt a synth 1 (+ 1 sub). We note the rate adjustable Chorus, which changes the game in my eyes compared to other synths range Juno. The game is very original envelopes and opportunities are extended (ADSR ADDSR, AADSR, ADASR ...) This synth is very distinctive, the Chord Memory function will delight lovers of House will recognize that the very grain of the particular animal used in moultes productions.
We leave soon something big on this synth, I love the bass produced by single DCO (+ sub), I have a lot of synthesizers and bass produced by the latter are quite unique and very deep with this something hot / cold that I really like, I would say that the bass is gray.
I feel this machine a little each time that Roland and saw its price occaz is much more interesting than any analog VA or even at the same price.

OVERALL OPINION

- Possessed long ago sold, then finally bought here (with some good large galleys, anyway). I had a lot of gear manufacturer's Japanese, I have yet, but it is a little synth part, for me, I love it and am glad again.
- Perhaps the lack of parameters directly accessible on the front could be prohibitive for some, but the parameter. Summary There are 35 or 36, the alpha dial and menus are well designed, it sounds out easily without sighing and having fun. Note the excellent software that allows publishing alphaBASE via the computer, it is really well done (but I no longer use it, the computer is usually closed pdt studio sessions).
- Report Q / P super interesting to me, I think the coast will increase in the coming months, as bcp Roland gear this time. JX series is also very interesting, and synth are very good ..

I will not repeat in detail the features that have been fully described in other opinions.
In summary, this is an analog polyphonic 6 voices, an oscilloscope, a filter, an envelope.
Dynamic keyboard aftertouch 61 +

UTILIZATION

The programming is quite tedious in my opinion (I'm not a fan of navigation by alpha-dial). The ergonomics have won by more direct access parameters by keypad, for example.
There after the pg300 that finds the ergonomics of the first analog.
Unfortunately, I did not!
And it is also possible to make editions of his MIDI (SysEx) which is a good compromise ease / cost.
Finally, do not forget the four editions of rapid global settings (in parallel settings of the patch) that allow, especially live, to develop a sound very quickly, and why alpha-dial is very efficient and very pleasant .

SOUNDS

Original preset sounds are obviously dated, since the aim was for the most part, to imitate acoustic intruments by analog synthesis, no samples (!). this is obviously not the strong point of the machine
After the synth to program synthetic sounds (tablecloths, basses, leads, effects) rather original, by design and features of the synthesis (such as multi-segment envelope, the possibilities of control by keyboard dynamics)
I like the grain filter which is really nice to listen.

OVERALL OPINION

I own this synth for a long time. Today, I use it only in master keyboard because I did not need his sounds into the music I play.
But if I needed his analog I réutiliserais again because:
- Reliable (no knobs that spit, etc ..), never had any problems except dust on the contacts of the keyboard keys (cleaning)
- The cool sound
- Programming simple enough given the limited architecture.
I recently emerged from the bass sounds for a demo with a group, and it's really more alive than the digital imitations.
This is a true analog qualities with its many limitations, but it's also what makes the charm of old synths.
Considering the current secondhand prices, this is an excellent deal.

ALPHA JUNO-series, released in 1985/86, comes in five units: the Juno-2, the Juno-1 (the same keyboard with four octaves without momentum or velocity), the MKS-50 (Version expander) The HS-80 (Juno-2 with speakers), and HS-10 (a slightly restyled Juno-1).

ALPHA JUNO-2 is an analog synthesizer with 6 voices of polyphony, monotimbral.
His memory is organized into 3 groups of 8 banks of 8 tones is: 64 preset sounds in (ROM), 64 in internal memory (RAM), and 64 on M-64C cartridge or optional M-16C (RAM).
The outputs (mono) and R, headphones, jack 6.35
Pedal inputs:
-Volume pedal
-Sustain Pedal / hold
Pedal-switch: Assignable to incrementing programs (1 to 8> 1 ... within the same bank), activation of portamento or memorandum of understanding.
MIDI IN, OUT and THRU. Fairly comprehensive MIDI implementation.
LCD 16 alphanumeric characters.
Dimensions: 972x246x85 mm - Weight: 7.5 Kg

The synth has a very simple line. The construction is solid. It is narrow, so no question of preparing its PG-300 controller above, unlike the series of JX.
The keyboard responds to the dynamic (velocity) and aftertouch. It is very soft, but a bit noisy, and may generate spurious notes when releasing a button dryly.

UTILIZATION

The JUNO is easy to use once gained control of the alpha dial. It has few parameters: 5 for the general settings for MIDI 11, 36 for audio, and data transfer functions. The addition of a PG-300 makes programming and editing sounds, but with practice, you can control the JUNO live by its commands Tone Modify (speed and modulation depth, brilliance and envelope) and menus (see this video: ). I tried editing software freeware EZ-Alpha and PG-300 Emu that function smoothly.

In terms of game features, there is a button tuning memory, an activation button portamento, octave -1 command, a button for transposition (-12 / +12 semitones) and the traditional pitch lever bend / modulation. I find it unfortunate that the pitch bend value is part of the parameters of sounds, rather than the general settings. A cursor near the lever as the JX-10 would have been ideal. There is no single player mode (but you can compensate by scheduling an agreement "with a note" or the octave), or unison mode.

The manual is clear and detailed. It explains quite clearly how the parameters affect the sound. It lacks only the factory reset procedure (turn while pressing Portamento and Data Transfer), as well as figures on the LFO or envelope times for example.

Failures on the most common identified mainly concern the keyboard (some keys on maximum velocity, aftertouch), but also, more troublesome and fortunately rare, the failure of components which produce a much higher rating than the other or absent.

SOUNDS

Architecture
COD
The basic wave is produced by the addition of a square wave PULSE (2 types PW + / PWM), a sawtooth wave SAWTOOTH (4 types PW + / PWM), a square wave sub SUB (6 types -1 or -2 octaves on four levels), and a noise generator to 4 levels. The PW / PWM modulation (pulse width) is common to two waves, and can be controlled by the LFO.
Section COD is modulated by the LFO, envelope (normal or inverted, with or without dynamic), and aftertouch.
VCF
In this section, there are three types of filters, low-pass and high-pass 1 and 2, and the settings of cutoff frequency and resonance.
Section VCF can be modulated by LFO, envelope with or without dynamic envelope reversed dynamics and aftertouch.
ENVELOPE
The envelope generator is atypical. Its seven parameters are used, for example, a soft attack followed by a "second attack" faster as the "famous" Hoover's. This envelope generator thus enables particular forms: ADDSR, ADASR, AADSR, and even if AAASR sustain level is above the levels of attack. But we can find a classic ADSR envelope by adjusting three parameters to 0 or 127.
The attack is fast. The maximum values ​​of times are about 30 seconds.
The envelope is modulated by the key follow. It is assignable to the DCO, VCF and VCA, the latter having in addition a form with or without dynamic gate.
See examples of envelopes at the end of the view
LFO
The sinusoidal LFO with adjustable delay may be applied in the DCO and VCF. Values ​​range from a period of almost a minute at a frequency of 10 to 20Hz (I have not been able to accurately measure it), including of course by the usual approximate values ​​of tempos. But this LFO has a bad thing: it does not work in a mode "key-retrig" (clock reset at each start of a note). This makes it difficult to synchronize the LFO with other devices or DAW, unless you play the stopwatch and the calculator, or tap tempo.
Surprisingly, willful default or when the LFO is set to its highest values, and assigned only to the VCF, some notes on the keyboard (especially in the bass) have values ​​of different LFO frequency. This produces effects "of arpeggiation" unexpected and nice.
CHORUS
The chorus is adjustable from 0 to 127.

On the Juno-2, Roland pushed up this simple synthesis, directly after that of Juno 6, 60 and 106, with the additional possibilities offered by different types of waveforms and PULSE SAWTOOTH, chorus adjustable ( allowing more shades than the 2-position of the previous JUNO), the 7-parameter envelope, pitch modulation by the envelope, dynamics and aftertouch keyboard.

Subjective opinion on sounds
Acoustic sounds and electro-acoustic:
The acoustic pianos, plucked violins (except possibly the cello), brass, winds are useless, except for parodies (but this is generally true for many analos). Electric basses are averages. However, the boundary between these sounds and other more interesting is tenuous: changing some parameters on a preset, and you get a sound worthy of interest.
I like some EP in the reworking. The melodic percussive sounds (xylophones, marimbas ...) are pretty good. I quite like the organ, pipe or electrical. Sets of strings, although lacking a bit of realism, are good, including its Long Strings, which I used as the basis for many sounds.

Synthetic sounds:
This is where the Juno is the most comfortable. He excels in the pads, tablecloths, sweeps, bass. For leads, I do not really judging this kind of sounds does not interest me much. Some FX are ridiculous, others are taking full advantage of the complex envelope.
By combining the PWM and high values ​​of LFO and chorus, you can get sounds pretty "dirty". On the other hand, involve a slow LFO, the envelope times higher, an envelope follower, produces sounds evolving over several minutes.

Percussive sounds:
The few presets (ElectroDrum, Kick, SynthTom) are usable. You have to play equalizer to give a little more strength to kick. A little research, we can approximate the sounds of Charley. on the other hand, it is difficult to produce a snare sound acceptable.

Apart from the chorus, which is part of its synthesis, the Juno-2 has no effect. I would usually add a touch of reverb or some delay. The sounds take full advantage of keyboard velocity.

Confined to the use of electro / dance / techno would be simplistic in view of its synthetic. This is a fairly versatile synth.

OVERALL OPINION

What can he fail to be "perfect" in its category (analog to a DCO, monotimbral polyphonic memory)?
-Lack of knobs, yet easily circumvented with a PG-300, a control surface, or a software publisher
-At the LFO waveforms and random square in addition to the sinusoid, an external clock synchronization and operation in "key re-trig"
-An arpeggiator, functionality abandoned by Roland JX series on JUNO and MIDI (106 and Alpha)
-Memories of patches (including the memoirs of agreement, the value of portamento) as the MKS-50
-Control of the filter expression pedal (present on the JUNO-1) without using the MIDI

Purchased 1988 with a PG-300, it is my first synth after I made my weapons on Casio and Yamaha arrangers. I could try different synths in store: digital (DX Yamaha, Korg DW-8000 and DS-8, Roland D-10 and D-50) and analog (Korg Poly-800, Roland JX-10). Cooled by the sound of digital, I finally bought the Juno mail, without trying, my opinion based on the few that were found in the music press and on the strong impression I had made the JX- 10, unaffordable.
I have never regretted this purchase. Before the recent acquisition of a Super JX, I feared that my JUNO-2 would not suffer the comparison. On the contrary, the JUNO-2 lot of sounds that the JX-10 can not occur. It is a simple and efficient synthetic, ideal for beginners. With its multiple waveforms, its modulations, one can easily draw sounds very interesting, still valid.

Keyboard 61 keys velocity sensitive and aftertouch to quite nice.

It is a synthetic analog DCO (analog oscillator is controlled digitally and not by voltage)

A bank of 64 presets, a bank of 64 sounds user, a memory card slot found.
No effect. A button to select the parameter to change the wheel with alpha. Support is of value to adjust the setting chosen, it's simple!

A pitch wheel / mod, especially the alphadial, which gives its name to Juno, and controller that can shine, vibrato and so on. it compensates for the lack of buttons on the front.

The controller can juno 2 with a control surface of BEHRINGER BCR style, or ancestor PG300, PG300 or emulator that will drive a control surface, in short, is enough ....

Polyphony of 6 (not bad for an analog!)

UTILIZATION

Super simple, we can not do it all, far from it, but what he does he does very well and very simply! few minutes to save themselves a lot of variations of sounds.

The sheets are strong point is, the lower as well. It's harder to make him out dess lead, but there are ways anyway.

The electric pianos and the like are not really top. The bank offers factory sounds kitsch and useless (and other jet helicopter ...)

The accordion is very surprising, and the wheel can turn an alpha chelou in his organ in seconds and in real time.

I use it mostly with a JX3P, an Ensoniq SQ1, and a Nordlead polyphonie12 connected to a Nord Modular.
It passes through a band effect Korg echo internship, or other effects to digital.
It sometimes coexists with a virus, Blofeld, orbit, U220, Triton, Yamaha S08, jv, and samplers akai and emu
eplus but I find a place in the config that I have outlined above.

SOUNDS

The sounds are very typical analog 80 years.
We acknowledge the dough roland, but it is cooler than the JX3P, the chorus is different too.
However, it is best implemented in bcp afternoon that the P3

OVERALL OPINION

I use it for two days, it is very nice to drive and use. It efacilement edit its sounds even without control surfaces.

and +:
- A sound analog characteristic that does not duplicate an incomparable with those crummy JX vsti emulators
- Solid, Metal
- Shallow and MIDI master keyboard can =
- Very good market opportunity
- Very easy to use

the -:
- The filter seems less fat than other analog JX
- A little unbalanced when in use according to the octave: the bass often seem less powerful than the mediums.


Because of its coast is a must have opportunity to enrich the set of sonoritées typed. such as the JX Series, it is likely that its coast back slowly even if it is far from Oberheim and JP8 because it is very far from the coldness of the VSTi, their abscence of character and life.

Keyboard 61 notes synthse analog 2 x 128 + sounds a site for a memory cartridge for 128 user sounds and more. Connectors for classic era ... Polyphony 8 notes (a saturated quickly, we must forget the 7th and company agreements).

UTILIZATION

Simpler than the Juno 2, I've never seen! The record, it is not so is simple.
The edition features the sounds are very easy to use. At synthse sound rglage wheel allows quick CRER trs new sounds.

SOUNDS

The sounds are typical of the 80s. For those who love, they will be well served. Even if you get no sound CRER trsralistes, we are pleased to re-create all the sounds of Jean Michel Jarre (Appointments, Laser Harp, Oxygne, Equinox) . Same level of "bass", you get fun.
In short, even if rsum ism is lacking, the sound of this type of synthesis have marked the history of synthse sound. In fact today, keyboards and sound modules for all brands continue to provide some sounds from the old vintage synths.

OVERALL OPINION

I used almost 15 years. This is a very simple synth and fun to use and trs CRER vintage sounds. In short, it's a great keyboard.
The only default: with time and use ultra-intensive (such as my parents: a synth for children 5 musicians) rubbers under the notes get damaged and sometimes are wrong. If we do not change, it is a disassembly prvoir every 6 months (there are 3 screws out, it is not death !!!!).

Analog keyboard: There are 64 presets and 64 users. So there is that 64 sounds ....
OUTPUT STEREO / LOCATION 3 PEDALS / MIDI: IN / OUT / THRU

This keyboard has great bass sounds .... It has a very good reputation in the hip hop and electro .... There is also the bass and Jungle original house with the old .... The Juno 2 is 100% 80's ...

UTILIZATION

I've never met a keyboard as easy to use ...
Publishing and the settings are childish ....

SOUNDS

If you like "Beverly Hills Cop," "Miami Vice" and the films of John Carpenter, this keyboard will become your best friend ...

OVERALL OPINION

I think this keyboard was actually designed for artists who love arpegiatteur ....

IDEM

UTILIZATION

The edition is crystal clear sound!

SOUNDS

Sublime sound! The series of sounds typical of JUNO.

OVERALL OPINION

Report quality trs trs cheap price A JUNO 106 sells for about 300 euros more expensive than JUNO-2 while it has the same sound over and a JUNO 106 has no 'screen liquid crystal display but just LEDS! The JUNO-2 has an additional memory card slot. In short does not make you have in you throwing the JUNO 60 and 106, the JUNO-2 is the same thing but without the potentiomtres to change the sound in real time.

61-note velocity-sensitive VLOC the (game average: 80) and aftertouch.
Prs joystick button to activate the pitch portamento and the "chord memory" which, if nothing has Dfine, makes the monophonic synth (good for solos)
Polyphony 6 notes. Chorus very useful but not rverb / delay.
There are 3 oscillators:
- A square wave for
- One for a saw-tooth: the two oscillators is therefore one or more modes can be varied pulse width
- A sub, which is a square wave drive and one or two octaves below
- A noise to gnrateur CHHHHHHH
- All happening in an HPF (which can boost the bass)
It is regrettable that we can not rgler the relative volume of oscillators carrdent saw. So, no FM, AM or oscillator sync, so the tone is a little variation on limit.
The oscillators are numriques, the filter is analog.

UTILIZATION

The concept is very simple: we chose a parameter with the APRS alphadial and you change its value.
Obviously, we would prfr of knobs but hey, for the price ...
The manual is clear.

SOUNDS

The sounds sound trs "Juno" hh is saying sounds a bit "acid" with a square wave and sawtooth bunk. The analog filter is dlicieux.
It is not versatile, but it does have a recognizable sound.

OVERALL OPINION

The opinions are correct previous ones is the sound of the 80s! For funk, acid techno or it is very well! Its keyboard is identical to D-50, trs is enjoyable, not too soft and the black keys are lgrement bombs. It is shallow, so for computer music is also a good master keyboard that does not take much space.
I like the analog potato, I regret that rglages (envelope, LFO, filter) are comprehensive because all oscillators arduit quite the sonic palette.
For cons, the aftertouch is fragile: if you buy a used one, let them attention (I have bought from a pro: a little more expensive than by an individual but the warranty has saved me the above!)
I like my Juno. In fact I fell for its analog strings, but otherwise it is not trs versatile, so If you are not in a style that really fits (techno / acid, funk), it is primarily a place for anything (I do).

This is a vintage synthesizer from the 80s. Though it is an analog synth, it has some digital controls, which made it a unique hybrid of the technologies. There are 64 presets as well as 64 user memory patches, meaning there is a lot of room to customize the sound. The digital controls includeDCO digitally controlled oscillators, LFO, bend, ENV, pulse, waveforms, noise, PW/PWM, high pass filter, VCF filter with freq/env/res/lfo/kybd, VCA envelope, chorus and others. There are really nice analog filters on it too. It's not new enough to be computer-updated and it is not rackable.

UTILIZATION

This is a pretty easy synth to use, honestly. The digital wheel controls all of the settings on it as well as the presets and the channels. Switching between sounds on the fly is tough, perhaps it's better suited to studio use for this reason, though I'm sure with practice you could switch it quickly enough to get comfortable for using it live at a venue. It's pretty easy to set it up and get it going too. The manual explains everything pretty clearly overall, there's certainly a lot to cover with it but it's all in there.

SOUNDS

The sounds made from this synth seem to be a little ahead of their time for a synth that was released in 1985. Most of it sounds like 90s rave-style stuff. Prodigy and Fatboy Slim are two of the more notable people who have been known to use this synth, and thus countless imitators have also used it for the same reasons. I think overall it doesn't have realistic emulations of real instruments, but that's not really why I would use it anyway, nor do I think anyone else would use it for that reason. One advantage that this model has over its predecessor, the Juno-1, is that it is touch sensitive. That's a big advantage for me personally, as I like to be able to control dynamics with my playing as much as possible. The effects are great, the analog filters are the best part about it. It's a great hybrid of analog and digital technology overall. It's capable of fat, booming bass sounds as well as spacey, high pitched effects. It's got it all really. It doesn't have the warmth of an old school Moog or something like that but it's still a great synth.

OVERALL OPINION

This is probably going to be pretty expensive nowadays. While I like the synth a lot, I'm not sure it's so unique that you can't find an acceptable MIDI patch to replace most of these sounds. Still, for live use, it's great. And really, you're better off with the real thing than a crappy plug-in. It's worth the price if you are constantly going to be using it. Otherwise it's not really. It's a fine sounding machine and it definitely has an old school vibe that would work well for a lot of people. It's not going to compete with 2010-style synths for top 40 club charts domination, but it's definitely got a nice character and it's versatile. Highly recommended.