View other reviews for this product:
revega
Published on 11/02/10 at 04:05
Synth typically in the spirit of what was at that time. Heavy, durable, wide (5 octaves), 6 voice polyphony and everything in front so no submenus. Thereupon hyper didactic and easy to use. However noon but not DCB (standard Roland completely outdated to compete with MIDI) so distrust for the curious, it is 'Moisten' via the kit and there is KentonDCB + 200 €.
UTILIZATION
Obviously it's very simple to use and easy navigation on the various control elements. Editing the sounds is very easy and is done via an activation button behind the keyboard. The manual is clear and not very interesting except to edit or use the JSQ60 (which also requires a manual on his side and remains a sequencer frankly tedious).
On this point the Juno 60 is an example of friendship that, indeed, somewhat lacking on modern machines. It is probably, in my view, his only asset.
The thin edge of the Juno 60 is its arpeggiator that allows the creation of small melodies pretty quickly but it runs fast, very fast in circles.
SOUNDS
Well you must be honest to recognize that the Juno 60 is an old bike to the very limited interest. No sounds transcendent, one CSO (the Arp Axxe has one also not disabling) and two types of Chorus (stackable) that I did not find very relevant (it increased the sound and dense but I like not delivered at all).
Ok if we put in the context of the time it took place, and undoubtedly that is why he does not bring anything new or interesting. The sound that has its identity in its own right, was heard thousands of times and in all possible genres (Enya, The Cure, Vince Clark, Section 25 and a whole slew of groups Dance and Techno). Impossible not to have heard at least once even unintentionally. So yes it has a proper signature but what a burden! Everything always sounds the same way and the synth is finally confined to his simple role of 'machine 80's Pad / Warm / Bass-heard and tedious at best.
Its presence in a mix is real, but alongside an analog I find some unmanageable, he mixes bad, its difficult past, and this, largely related to the use of the chorus (which blows and colors the sound curiously). It can be removed of course but what makes the presence of the sound of a Juno is precisely its Chorus. So ... Too bad it went with me completely off base.
OVERALL OPINION
Were 2 months (I had been around in one day), bought 600 (like new) and resold the same price and I find it extremely expensive for a synth as limited offering so few features. I had dozens of keyboards, analog and digital and the Juno 60 was one of the most boring (even the Moog Prodigy, although very limited, found much more grace to me). How this 'tank' for you it will stay in the race with a bargain price too prohibitive? When you see the diversity of modern machinery in ISD, Alesis, Analog Solutions and some old analos strong tempers have is stunned by such inflation on this kind of gear (ok it is polyphonic, so what?). I think there is a question of fashion''back to the 80's and the door open to scams and so far from my personal criteria.
Yet I knew the bike before it was acquired (to be tested in stores soon) but I had forgotten how the JUNO 60 can be very annoying. For anyone who wants to go back to another time and will have the chance or intelligence to not spend more than € 400/500 (although for me it is not worth more than 300) then yes the 60 will JUNO a weapon interesting, admittedly limited, but almost consistently.
The note is harsh, but it should stop being fooled. Even if it is built like a tank, is very desirable in its paces metallic black wooden sides, was part of a bygone era, the JUNO 60 is on a synth-side, far from asserting as a standalone machine. Nothing to do with a Mini / Micro / Moog, Prophet One or a 600, an Arp Odyssey Axxe or a Roland System 100 / 101 or in the same category polyphonic Poly61/Polysix a Korg, Roland Jupiter 6.
Verdict: a synthesizer frankly not interesting in register analos old 'idiot that fashion today sells us as the Holy Grail. If we do not know it is essential to try before you buy if large risk of ending up in front of a beautiful machine trouble.
But I remain convinced that some musicians have made it their favorite machine for the same reasons that I hated (his monotonous and boring heard a thousand times but polyphonic analog and very easy to take in hand) and I can admit it somehow.
We will say that this is only a matter of perspective in the end.
A word ...
UTILIZATION
Obviously it's very simple to use and easy navigation on the various control elements. Editing the sounds is very easy and is done via an activation button behind the keyboard. The manual is clear and not very interesting except to edit or use the JSQ60 (which also requires a manual on his side and remains a sequencer frankly tedious).
On this point the Juno 60 is an example of friendship that, indeed, somewhat lacking on modern machines. It is probably, in my view, his only asset.
The thin edge of the Juno 60 is its arpeggiator that allows the creation of small melodies pretty quickly but it runs fast, very fast in circles.
SOUNDS
Well you must be honest to recognize that the Juno 60 is an old bike to the very limited interest. No sounds transcendent, one CSO (the Arp Axxe has one also not disabling) and two types of Chorus (stackable) that I did not find very relevant (it increased the sound and dense but I like not delivered at all).
Ok if we put in the context of the time it took place, and undoubtedly that is why he does not bring anything new or interesting. The sound that has its identity in its own right, was heard thousands of times and in all possible genres (Enya, The Cure, Vince Clark, Section 25 and a whole slew of groups Dance and Techno). Impossible not to have heard at least once even unintentionally. So yes it has a proper signature but what a burden! Everything always sounds the same way and the synth is finally confined to his simple role of 'machine 80's Pad / Warm / Bass-heard and tedious at best.
Its presence in a mix is real, but alongside an analog I find some unmanageable, he mixes bad, its difficult past, and this, largely related to the use of the chorus (which blows and colors the sound curiously). It can be removed of course but what makes the presence of the sound of a Juno is precisely its Chorus. So ... Too bad it went with me completely off base.
OVERALL OPINION
Were 2 months (I had been around in one day), bought 600 (like new) and resold the same price and I find it extremely expensive for a synth as limited offering so few features. I had dozens of keyboards, analog and digital and the Juno 60 was one of the most boring (even the Moog Prodigy, although very limited, found much more grace to me). How this 'tank' for you it will stay in the race with a bargain price too prohibitive? When you see the diversity of modern machinery in ISD, Alesis, Analog Solutions and some old analos strong tempers have is stunned by such inflation on this kind of gear (ok it is polyphonic, so what?). I think there is a question of fashion''back to the 80's and the door open to scams and so far from my personal criteria.
Yet I knew the bike before it was acquired (to be tested in stores soon) but I had forgotten how the JUNO 60 can be very annoying. For anyone who wants to go back to another time and will have the chance or intelligence to not spend more than € 400/500 (although for me it is not worth more than 300) then yes the 60 will JUNO a weapon interesting, admittedly limited, but almost consistently.
The note is harsh, but it should stop being fooled. Even if it is built like a tank, is very desirable in its paces metallic black wooden sides, was part of a bygone era, the JUNO 60 is on a synth-side, far from asserting as a standalone machine. Nothing to do with a Mini / Micro / Moog, Prophet One or a 600, an Arp Odyssey Axxe or a Roland System 100 / 101 or in the same category polyphonic Poly61/Polysix a Korg, Roland Jupiter 6.
Verdict: a synthesizer frankly not interesting in register analos old 'idiot that fashion today sells us as the Holy Grail. If we do not know it is essential to try before you buy if large risk of ending up in front of a beautiful machine trouble.
But I remain convinced that some musicians have made it their favorite machine for the same reasons that I hated (his monotonous and boring heard a thousand times but polyphonic analog and very easy to take in hand) and I can admit it somehow.
We will say that this is only a matter of perspective in the end.
A word ...