JUNO-6 Operation Manual

I~Roland

Contents

• The Roland Juno~6 is a six voice and sixty-one key polyphonic synthesizer.

• The Digitally controlled Oscillator that offers exceptionally stable pitch.

• The real six voice polyphonic synthesizer completely equipped with 6 VCF's, 6 VCA's and 6 ENV's.

• An Arpeggio function that enables you to enjoy wide variation of the patterns by changing the MODE and the RANGE.

• Chorus effects that expand the sounds for a rich performance.

• A key transpose function that allows you to transpose to any keys.

* It is necessary for you to understand the functions of the controls and selectors of the Juno-6 perfectly so that you can fully enjoy the advantages of the unit. Some setting examples are shown in this manual so that it might be easier for YOIJ to master how to operate the Juno-B. but you are the one who creates the sounds. Please find out your own setting and new ways of playing.

• Basic Connections. . . . . . . . . . . .. 5

• Functions . . . . . . . . . . . . . . . . .. 6

I. Functions for Sound Creating. .. 6

DCa .' ,............. 6

HPF " 8

VCF , " 8

VCA 10

ENV 10

LFO. . . . . . . . . . . . . . . . . . .. 11

II. Functions for Playing 12

Keyboard 12

Controllers 12

Arpeggio " 13

Hold 14

Key Transpose. . . . . . . . . . . .. 14

Remote Controls , .. : 15

III. Effects , .. " 16

Chorus. . . . . . . . . . . . . . . . .. 16 Other Effects (Options) ..... " 16

• Arpeggio Samples. . . . . . . . . . . .. 17

• Sample Sounds. . . . . . . . . . . . . .. 18

• Sound Synthesis Memo . . . . . . . .. 29

• Specifications 32

• Options 33

'3jWii;;M~@~GFgltim!'Hi

Hold this button down and press the key to which you want to transpose,

• ;[e]!lti:hi4ttgM

The sound remains even after the key is released, (This applies to Arpeggio as well.]

f

Functions for Playing--------)

r-- Effect.

,,,a if!j~iR :rrtitffliJI

Changes the pitch

I!iI A Low Frequency Oscillator that generates vibrato and growl effects.

l.m.1 Digitally controlled Oscillator that determines the pitch.

- - - It also generates three waveforms that are the sound source of the synthesizer .

IB&& The filter that cuts or emphasizes harmonics and consequently determines the tone color.

Changes the speed of Arpeggio,

Ifl~w~l i if¢!tttD

Turns on and oft

the Arpeggio function.

_ The amplifier that controls the amplitude, rssultinq in changing the volume,

'*M It generates the control voltage which is applied to the VCA and VCF, controlling the harmonics and the volume.

!"'~'G:[tl;l.ti,,1"~[i'h,ml

This changes the depth of the Chorus effect,

ROWER

KEV

TRANSitOSE 'HOl1> ,

s

R

OFF II

o 0

ON/OFF MODE RANGE RATE
0 ·1
-- -
8; 8: - --
0 0 0 L- -1
DOWN
OfF DOWN ,
o U 0 10 __JQ

DCO VCF

VOLUME

~~ ..

I \

C 10

LFO TRrG

CJ

OCTAVE TRANSPOSE

~

DOWN UP

D

A

B"'~ nl.

11== == 5

---

== == == - --a

000

This selects the signal which controls the VCA. (It decides whether to change the volume

by using Envelope signal or Gate siqnal. )

emphasizes the Cutoff Point (creating unusual sounds) ,

Th is controls the rate of the U:O.

To select the pulse width control Ii ng signal.

The Iy operated button

for the LFO,

(It works when the TRIGGER ~v'lODE switch, situated in the LFO, is set to MAr\jUAL)

This determines the polarity of the Envelope,

(Negative polarity is for special effect.)

This the time, needed for the voltage to reach its maximum level after the key is pressed,

You can select the output waveform of the DCO,

i Each of them can be switched on and off indiviouallv.)

(AUTO) In this mode it delays the vibrato (growl) effects bv the set amount.

(MANUAL) While the LFO TRIGGER button is being pressed, theDELAYTIME determines the time required for the LFO signal

to become rnaxirnurn.

This determines the time needed for the voltage

to reach the Sustain level.

To alter range

of the keyboard.

(1 octave up and down.)

Th is adjusts the level of the Envelope signal which controls the Cutoff Poi nt of the VCF,

A manually operated lever which controls the pitch of the OCO and the Cutoff Frequency of

the VCF.

_lik, tjlgl@D

This determines the Sustain level to which the voltage falls at the end of the Decay time,

This is the volume of another sound source, NOISE.

This adjusts the depth of the growl/wah effects.

The LFO operates either manually or automatically depending on which position this switch is set to. (f'J1A1'JUAL, AUTO)

As you raise the knob, low frequency is cut. (The sound is getting brighter.)

This control sets the maximum effect of the BENDER.

As you lower the Knob, the difference of the tone colors between different notes becomes larger,

,.·ieitttmmmii',.

It adjusts the depth of the vibrato effect.

Th is sets the time required for the sound to finally fades out after the key is released.

As you lower the knob, high frequency harmonics are cut off, (The sound is getting softer.)

(MANUAL) The pulse width is adjusted. (LFO,ENV) The intensity of the modulation is controlled.

\"Functions for Playing_}

'----------------------- Functions for Sound Creating----------------------

Basic Connections

5

TUNE ARPEGGIO PEDAL VCF PHONES

CLOCK IN HOLD CONTROL

FV-200 Refer to P.15

PEDAL SWITCH FOOT VOLUME

DP-2

Refer to P .15

TUNE (±% note)

T

H M L

CI

I

t

etc.

KEYBOARD AMP M/H AUDIO AMP H RECORDING UNIT H

PA MIXER LiM/H

GUITAR AMP liM

STEREO HEADPHONES RH-10

* Adjust the volume with the Volume control knob.

I. Functions for Sound Creating

6

DCO DCO is the digitally controlled oscillator that (Digitally Controlled Oscillator) controls the pitch and creates three types of waveforms which are the sound source of the synthesizer. Compared to VCO (Voltage Controlled Oscillator]. DCO has superior stability. The operations and functions of

the DCO are virtually the same as those of the VCO. A DCO does not, however, provide portament function, because of its digitally controlled system.

oeo

I I I

@@ ® G) @@

CD rtu /1 ~ • WAVEFORMS

You can select the output Waveform of the DCO. Each switch can be individually turned on and off and can be used with other switches.

@ PWM MODE switch

When it is set to (MAN), pulse width can be set with the PWM knob @). When it is set to LFO or ENV, pulse width is controlled by the corresponding signal from the LFO or the envelope generator.

® PWM • Pulse Width Modulation

When PWM MODE switch@is set to (MAN), th is knob controls pulse width, and controls the intensity of the modulation when it is set to LFO or ENV.

@ SUB OSC • Sub Oscillator Level

It controls the volume of the SUB OSC.

® LFO • LFO MODULATION

It adjusts the depth of the vibrato effect when the LFO is controlling the pitch of the DCO.

® NOISE • NOISE level

It controls the volume of the NOISE.

<Pulse Wave>

When the top and bottom portions of the square wave are unequal, the result is what is called a pulse wave. The harmonic content of the pulse wave will depend greatly on the width of the pulses. It is possible to modulate, or change the pulse width by means of the LFO or the envelope generator.

Waveform

7

Setting

Waveform

Description

Harmonic Content

7

/1 o

Saw Tooth

The sawtooth wave contains a fundamental sine wave and its integral harmonic sine waves at a fixed ratio. The level of each harmonic is as shown on the right. When fundamental content is 1, the content of nth harmonic is vtn,

F2345678

Square

The square wave contains a fundamental sine wave and its odd numbered harmonics at a fixed ratio. The level of each harmo n ic is the same as sawtooth wave: the content of nth harmonic is 1 In; except that there are no even numbered harmonics.

nn~

3

5

I I I

PWM rtu JUlLJ

Dlo~ ~

~~~

... Pulse

With pulse wave, the harmonic content greatly varies depending on the pu Ise width. It is characterized by a lack of the nth harmonic series when the pu IS8 width is lin. The example on the left lacks 3rd, 6th, and 9th harmon ics because the pu Ise width is 1/3 (33%).

F

nih

PULSE WIDTH at 33% (1/3)

F 2

4 5

7 8

Q;

o

Square wave one octave lower than the DCD's ( ru )

Pulse Width

~Manual PWM

PWM MODE SWITCH @ + MAN _r-uu-"""'l pw~

P U LS E WI OT H @. Deterrnins the p" I" width L.c=~: I N

JlJlJ~ 8;~

50%nrLJL-== ---2

"'PWM by LFO

PULSE MODE SWITCH @ + LFO PULSE WIDTH MODULATION ® +

LFO

Adjusts the intensity of modulation. SIGNAL 1'------""-----

OUTPUT WAVEFORM

;'PWM by ENV

PWM MODE SWITCH Q) + ENV PULSE WIDTH MODULAT ION @ +

Adjusts the intensity of modulation. Ef\JV SIGNAL

OUTPUT WAVEFORM

-.

n~~

IAAHlW. r-. - "'"

-

~ -P~

'---- ,ox

_:::J: MAHu-.L

-- /'-,.

==1 == EHY

== :::::I

HPF

8

(H igh Pass Filter)

This filter lets the high frequency harmonics pass and cuts off the low frequency harmonics. As this filter is not voltage controlled, Cutoff Point is changed by only moving the knob.

CD FREQ • Cutoff Frequency

Cutoff Point of HPF can be adjusted with this knob. As you raise this knob, frequencies in the low pitch range will be cut off.

VCF

(Voltage Controlled Filter)

This filter changes the tone color by cutting off or emphasizing harmonics. This filter lets the low frequency harmonics pass and cuts off the high frequency harmonics, and is controlled by a voltage.

-

FREe FREQ RES Idv LFO i<YBO

UUD~f'--.~· ~

-,---- '---- s

-- ---

-- ---

--- ---

+ =1-1 I 1-1-'

0) @@ @ @@(7)

V.oF

@ FREQ • Cutoff Frequency

This knob is to change the Cutoff Point of the VCF. As you lower the knob, the frequency in the high pitch range will be cut off, and the sound will fade out when the waveform becomes nearest to a Sine Wave.

* ~ +- Refer to P.15

@ RES • Resonance

This control emphasizes the Cutoff Point set by Cutoff F R EQU ENCY knob @. As you raise the knob, certain harmonics are emphasized and the created sound will become more unusual more electronic in nature. If you alter the Cutoff FREQUENCY knob while the RESONANCE is set to a high level, you can create a type of sound that is attainable only from a synthesizer. If you raise the RESONANCE up to the maximum, VCF will start Self Oscillation.

@) ENV • Envelope Modulation

When the Cutoff Point of the VCF is being modulated by the output of the Envelope Generator, this knob is used to adjust the intensity of the modulation. You can change the Cutoff Point of the VCF in each note with the ADSR pattern previously set. So the tone color of one note can be changed quite drastically.

® Polarity Switch

This is the selector switch for the polarity of the Envelope. When it is set at reverse polarity, the ADSR pattern will be reversed and the tone color alteration will be the other way round.

"NOTE

This often means the Cutoff Frequency of the VCF (HPF) will need to be set higher.

® LFO • LFO Modulation

When the Cutoff Point of the VCF is being modulated by the output CV of the LFO, th is knob adjusts the depth of the growl or wah effects.

o KYBD • Key follow

When the Cutoff Point is being controlled by the KYBD-CV (Keyboard control voltage), this knob adjusts the level of the KYBD-CV. It prevents any inconsistency in the harmonic content caused by pitch alteration. Consequently this knob is usually set to the maximum on such a long keyboard, but can be set to your taste.

*NOTE

Self oscillation of the VCF does not guarantee accurate pitch. So, you cannot obtain correct scale when playing the Keyboard.

Cutoff Frequency

9

Resonance

Frequency (Hz)

ENV Modulation

~ Positive Polarity + t

v Voltage (V) I

I

Q Negative Polarity

v

"'NOTE

When modulating the VCF using the Envelope, set the knob (l) to a fairly low level in case of positive porai ltv, and set it to a fairly high level in case of negative. Otherwise there will be I ittle effect.

VCA

10

(Voltage Controlled Amplifier)

This is to control the volume (amplitude) of the sound, and is normally controlled by the output voltage from the Envelope Generator.

G) Select switch for the control signal

This switch enables you to select whether to control the VeA by the signal from the Envelope Generator or by the Gate signal.

ENV

(Envelope Generator)

This generates the Control Voltage applied to the VCF and the VCA, thereby controlling the volume and the tone color of each note. This output voltage is generated whenever you press a key.

EN

A 0

R

5

!!.._ ~

- ----

-----

f:;; 5 __ ~

.ri, == == == == ==

G) @ @ @ Q~

@ A (Attack time)

This sets the time required for the voltage to reach its maximum from the moment the key is pressed down.

@ D(Decay time)

This determines the time required for the voltage to drop from the maximum to the sustain level. When the sustain level is high, the Envelope curve does not change by adjusting the Decay Time.

@ S (Sustain level)

This knob determi nes the Sustain Level to wh ich the voltage falls at the end of the Decay Time.

® R (Release time)

This sets the time needed for the voltage to reach zero.

IIENV OUTPUT (ADSR)

III KYBO GATE

ON

OFF----~

11

• The variation of each knob.

Attack Time

• Setting of ADSR and Envelope Curve .

JL J\ I
. o s , 'Ii.':
lOll'
------ - - - --
- - - -- - - - --
- - --- - - - -1-
- - - -- - ----
~- - - --~ ~- - - - ~
- - - -- - - - --
- ---- - - - --
- - --- -- ---
- --
II __ Q 0_ __0
I ~ <:
. D S , . 0 s "
'.J' 'ILiII'
- - ---
- ---- --- --
- - --- - - ---
- ---- - ----
~- --, ~- - -,
- - --_ - - ---
- - - - --
- ----
--- --- --
g - _0 0 ___ -0 ** When all of the ADSR sliders are set at "0", the waveform will be an extremely short Pulse wave, and only a short "click" is heard. Please be careful.

LFO

(Low Frequency Oscillator)

Decay Time and Release Time

o 0

i ! i

k \~

Time (sec) i;

Sustain Level

, ,

if fl···

-u-

LL

Voltage

* In the figure shown above, the positions of the knobs are not meant to be exactly correct, so the knob position does not necessarily correspond with the time and the voltage.

,I 1it

1==

This oscillator operates only at a Low Frequency. It controls the YCO and the VCF to produce vibrato and growl effects.

DELAY TRIG

RATE TIME MODE

® RATE

This adjusts the rate of LFO.

(j) TRIG MODE • Trigger mode switch You can select whether to operate the LFO manually or automatically.

® DELAY TIME

This sets the time needed for the LFO to start to function. The function varies depend inq on the position of the TR IGG ER MODE switch 0).

LFO always functions.

MANUAL

DELAY TIME

II

--

==~

o

AUTO

r"lAUTO

UMAN

While the TRIGGER button is being pressed, the LFO amplitude becomes larger. When the delay time set previously has passed, it becomes normal amplitude.

nAUTO leJMAN

The LFO works while the LFO TRIGGER button is being pressed and stops when the button is released.

1 Other than 0

The LFO does not start to function until the Delay Time set with the DELAY TIME has passed. (*)

DELAY TIME

It

*: This Delay function works only in nonlegato manner. So the Delay Time affects only the first key in a legato section.

II. Functions for Playing

12

KEYBOARD

The Roland Juno-6 has 5 octaves and 61 keys, but can be played as a 7 octave keyboard (as shown below) by using the TRANSPOSE switch. When the TRANSPOSE switch is set to Normal. the third C from the bottom

-e- I

:

corresponds to the Middle C of a piano keyboard. So, if you wish to use the Juno-6 with the other keyboards, this knowledge will help you to align the Middle C of the two keyboards.

'(... ... .. A!

~ ~ I: : ! 'I

7T ~ I 1 :.1+

t !.: Transpose ,UP

I 1 I 1

I I: 1 1

1 I" 1

: I Transpose NORMAL'

1 1 1 1

I I I 1

: 1 ~ 1

I Transpose DOWN I

I· '1

I I

I I I I

I I I

1'111 I II! I'" 11111" 1111 I" I '" I" I III 1111111111 mil ~:;~oa'd

I I , 1 I I

I : Middle C I 1 I

It" i,:~ i.:

I HI'" I H "" In "" I" I '" I" I "" I ~~eJ~~~~60ard of

...

I

... 1 1 I I I

, 1 I

,I I I I 1 I I I I I I I I I

CONTROLLERS

VOLUME
~
nco vcr _...... /_
- - .:» 1
- - - " ,
- - -
- - - o ,"
- = - =
-
- - - LFO TRIG OCTAVE
- - - D\ TRANSPOSE
1= - -
- er-a
j~t{ ®

@
BENDER
II C) II 5
@

G) VOLUME

® OCTAVE TRANSPOSE

This is to transpose the scale one octave up or one octave down.

® LFOTRIG

The LFO MODULATION can be turned on and off with this button, if the LFO TRIGGER MODE switch is at (MANUAL) position, (Refer to P. 11)

@ BEND ..... DCO

When the Pitch of the DCO is being controlled with the ® BENDER, this knob adjusts the variable range of the pitch,

..... VCF

When the Cutoff Point of the VCF is being controlled with the BENDER, this knob adjusts the variable range of the tone alteration.

® BENDER

ARPEGGIO

13

The Juno-6 allows you automatic arpeggio play with the range of up to 3 octaves .

.. Arpeggi 0 Sample "* P.17

, ARREGGIO

o

ON/OFF MODE RANGE RATE

o

4

CD MODE

This controls the movement of the patterns.

@ RANGE

This determines the pitch range of Arpeggio.

@ RATE

This sets the speed of Arpeggio.

* nJL (EXT C LOC K) "* Refer to P.15

.... You can enjoy wide variation of Arpeggio by combining those three controls.

® ON/OFF • Arpeggio switch

8; 8: R~ ~

DOWN __

POWH 3 = ==

L- =:::2

@

"" NOTE

* An Arpeggio can only play while the keys are being held down unless the HOLD button is pressed.

* Press each key of the chord at precisely the same moment, or the first pattern of the Arpeggio will be imperfect.

.. The pitch range of the Arpeggio must be within the keyboard range. So if you set the range to 2 or 3 octaves and the Arpeggio p itch range exceeds the keyboard's range, the highest pitch range will be repeated.

* If you turn on the Arpeggio switch while holding the keys down, Arpeggio may fail to start properly. Turn on the Arpeggio switch before pressing the keys down.

RANGE, MODE

e Arpeggio Patterns in case of I~

~ 1 oct 20ct Sect
E
.,..
UP ~~ ~~~ ~ ~~~~,~~~~ ~ ~itf
~~Fe~==
U% * I; ~~~~~ ~~F~~~~~~~ -~
DOWN
..",..
* * if~g~F~~
DOWN ~~~ " ~~~ijr~~
..j ~~ §
t# .. Occasionally, the first octave may take a wh ile to "settle in" if you use the DOWN mode.

** Also, in the Down mode, if you change from either of the other two modes, the last note of the previous mode will become the first note of the Down mode.

HOLD

14

,.

o

* r=1 .. Refer to P.15

When this button is pressed, the sound remains even after you release the key. The level of the sound is controlled by the S (Sustain Level) in the Envelope Generator. Consequently you cannot hold a sound that has a SU ST A I N level of zero.

Also, the HOLD function applies up to 6 keys at a time, and if more than 6 keys have been played, the last six keys will remain.

ARPEGGIO & HOLD If you press the HOLD button while an Arpeggio is being played, it will continue to be played even after the keys are released. In this case, no matter how many keys are pressed, each time you press a new key, you will hear a new Arpeggio with a different pattern.

II.. NOTE

Turn the ARPEGGIO switch on before turning on the HOLD switch. If you turn on or off the ARPEGGIO switch with the HOLD on, the previous pattern may be played, which makes operation awkward.

KEY TRANSPOSE

i

o

II How to transpose

While holding the TRANSPOSE button down, press any key in any octave. If the indicator above lights up, transposition is completed and the Juno-6 will now play in the key of the chosen note.

* Normally C cannot be transposed, only the highest C can be transposed one octave up. (The indicator lights up.)

Transposition to any key is possible. By using the appropriate key, you can sh ift the pitch of the entire keyboard. Moreover you can playa piece with many #s and b s in the key of C major (A minor).

II How to return to the normal key

(C key)

While holding the TRANSPOSE button down, press any C note (except for the highest C)' and the indicator will go out and the Juno-6 has returned to the normal condition (the key of C).

* Key transposition is not possible while an Arpeggio is being played.

HOLD & KEY TRANSPOSE

The sound, sustained' by the HOLD function, can be transposed as well. Hold the chord then transpose as shown above. Using the top octave, you can transpose the key up by one octave.

REMOTE CONTROLS

15

ARPEGGIO PEDAL VCF

CLOCK IN HOLD CONTROL

" Connect to OUTPUT

•

ego FV-200

DP-2

'* Keep the Hold swftch (on the panel) off.

FREO

?"

/

I c§===T ..

Press it down, and the Cutoff Frequency will rise.

i 1--11

1--

1--

• :::3

1 note per

,--_l_p_u_ls_e_--I RHYTHM MACHINE SEQUENCER etc.

ON 4-

~ ....... Press it down, and the ~ ..,.. Hold will be on.

OFF.

~ .. Release it, and the B~ Hold will be off.

lri When it is connected to the ARPEGGIO CLOCK IN, the Arpeggio Rate knob on the panel does not function.

CR-8000,5000 ········TRIGGER OUT DR-55 ················DBS,CSQ· TR-606, 808,············ TRIGGE R our

TB-303 } •

............ GATEOUT

CSQ-600

MC-4 GATE OUT'

MPXOUT'

• You can play Arpeggio with many kinds of patterns.

III. Effects

16

CHORUS

This gives spaciousness and richness to the sound. The effect becomes stronger from left to right, that is, II is stronger than I.

Use the stereo output (2ch) to obta i n the best effect.

OFF II

o 0

DOD

Optional Effect Units An echo chamber is most commonly used of all the effect units. It has such a strong effect that it is often said to be indispensable when using synthesizers.

Effect units such as a Phaser or a Flanger have the ability to add unique changes to the

sound, and it is effective to use them with Echo Chamber. A Phaser gives an effect which can change the noise to a jet sound. A Flanger has an effect similar to a Phaser's, but stronger, and can give power to a synthesizer bass sound.

Echo Chamber

: -:<<< ~.... • <

.~----

- i ~i~~~~~ --; ,

--_ - ~ -~ ---~--

Delay Machine

Digital Delay

Phaser/Flanger

Iii, :;:'ii;I""~'!!tI~"b 1i:'1:::iJjj,' ,'~,~~~~~ ~~6=~t ~

Equalizer

Reverb

Chorus

SRE-555 RE-501 RE-201 RE-150

DC·30 DM-100

SDE-2000

SPH-323, PH-1 R SBF-325, BF-2

SEQ-331, SEQ-315 GE-10, GE-7

RX-100

CE-2, CE-3 SDD-320

Arpeggio Samples

17

i 30Cl DOWN

I Tremolo II

I • Tremolo with xylophone like octave sound.

~~iV8 ~ote Arpeggio (1 oct UP/DOWN) I '8: ocr ~"oo," $0 II ~ $ _II

~""8~,,""~-+'Cp1Jo/l)l a ocr O~" . ~ -

When using Arpeggio as an accompaniment, adopt a pattern that is completed within one measure. Select the appropriate range and mode according to the number of notes in the chord, and beats in the bar.

* The SAMPLE SCORES show the examples of when you press each note of the chord simultaneouslv. If there is a time gap in pressing each note, the scores will not be the same.

[I] Three note Arpeggio (1 oct. UP/DOWN)

1 OCT UP

U2DCT8%owN~"'CJJjjlJJJ II

3 OCT DOWN

[g]Three note Arpeggio (2 oct. UP)

lDCT UP

~Three note Arpeggio (3 oct. UP/DOWN)

IOCT ~ f!i

,Q:,n ~:'-~"'$c@!~11

@] Four note Arpeggio (1 oct. UP/DOWN)

1 Del UP

[Q] Four note Arpeggio (2 oct. UP)

'a:oc, ~"'~"~"'$ej[4f3 C¢I

J OCT

DOWN

:10(,1 DOWN

[ZJ Arpeggio with a Bass note (1)

• Press one Bass note with the left hand and three notes of the chord with the right hand.

10CT UP

3 OCT DOWN

IBl Arpeggio with a Bass note (2)

• Press one Bass note with the left hand and three notes of the chord with the right hand.

1 OCT UP

J OCT OOWN

[§ill Special use of Arpeggio Mode (Bass Pattern)

1 OCT UP

J OCT DOWN

[1Q] Special use of Arpeggio Mode (Tremolo I, II)

Tremolo I

• Playa single note and adjust the speed of tremolo with the RATE control.

Lower the Sustain Level and shorten the Decay Time. Organ like sound is obtained by adjusting ENV.

'Uoe, 8~ ~ ~- ~

UP ...... ·- <, •• 4 ..... .lilt .a_

1 OCT / DOWN· c II .. {C FLLQH+FcrNLtfll

Sample Sounds I

(About the Example patches)

18

The position of each knob in the diagram is not meant to be exact, and the sound can differ drastically with any slight change of the knob positions. I t also varies depending on the type of the speaker and the amp I ifier connected to the Juno-6. Please adjust the

settings while actually playing.

Also, set the CHORUS button to the level you prefer while listening to the sound.

* The "missing" knobs in the diagrams are irrelevant to the sound. and can be set to any position.

OCTAVE TRANSPOSE"

CHORI1IS .

DOD

'--------- .. ---------------------- .. ---,'---------------'----,-----------'------- ... -'

OFF I

.l 0 S R

~C;; III~' IDUg

lJ.i;); - - i- = =

._. r= 1==== -

o 0

l' When you get confused with operations or no sound comes out, return to this basic setting and start again.

[1] GROUP STRINGS

The sound of a small group of strings. Adjust the FREO and ENV in the VCF. Also, you

can get a vibrato effect by raising the LFO knob in the DCO.

OCT .... """8""""

[2] GROUP STRINGS "

The sound of a medium group of strings. Turn on the SUB in the DCa and set the FREO in the HPF to '0'. and the sound of a large group

of strings is obtainable. Set the Chorus as you like.

[3] ORCH ESTRAL STRINGS

A mild ensemble sound. Adjust the FREQ in the VCF and A (ATTACK) in the ENV. Vi-

CHORUS

brato effect can be obtained by setting the LFO in the DCO fairly high.

·ENV

CHORUS

OFF ,

DOC!]

19

[4] JAZZ ORGAN

With the ADSR controls all at '0', control the VCF so that a key click sound will be generated. By turning on the CH RUS II at

the same time, you can obtain an effect similar to a revolving speaker (FAST).

OCTAVe Tf'lAHSPOSf

[5] CHURCH ORGAN

A thick, church organ like sound. The tone color widely varies depending on the position of the FREO in the VCF.

OCTAVE TO' .... """"

OFf I

o 0

O[!]O

[6] HOME ORGAN

The sound of Electric Organ for home use. You can adjust the vibrato effect (the LFO in the DCO or the RATE in the LFO) according

to your taste. The tone color can be greatly altered by changing the FREO control in the VCF.

OCTAVE.

TRA'-ISPOSE

OFf I

-

_1 .'. .'

[!]OO

[7] SINE-WAVE ORGAN

The sound source is the sawtooth wave. If you adjust the F R EO in the VCF to the fundamental pitch and set the RES high, you can obtain a pure sine wave, as only the

fundamental content is being passed. This method should be adopted when accuracy is required, while the sine wave is also obtainable by sending the VCF to self oscillation.

OCTAVE 'tRANSPOSE

OFf' I

~DO

20

[8] SQUARE-WAVE The sound source is the square wave of the Sub Oscillator. Set the TRANSPOSE to UP.

Adding the CHORUS effect might be interesting .

.. -m

I~' 0 5='=

~ W=II t:

~n _ =~~:::;

- V0F

""'AV' TRANSPOSE

[9] STEAM ORGAN· The Self Oscillation of the VCF is used as a sound source as well as the Square Wave of the DCD. Set the FREQ in the VCF to '0' and turn it up a little by little while pressing the note C. You will hear the sound of the

... 1

~DD

DCD (note C) first, and then the sound by the VCF Self Oscillation will be joined. So adjust the FREO of the oscillating VCF until it is an octave and a 5th higher than the DCD.

Hi. I • III .. 3d'

DELAY TRlG I 1 I 1 ,..----, ,...---, I I

'ATE",,' """" I "0 PWM rtn /1 ~ SUB05C ..... ...., ""'" RES I "'v "0 "., • •

~II 0: 11I~ ~ O~ O~D 1= 1.llgU =- ~ "I 0"' ~II- § =0 ~D ~§D~I: I

c I-:::i .~ - ,_ - - - c v - = .ll. - = -=U- :::i

,----_1_---_ .... 1_, ---_1_1'----_.'------,

[10] ELECTRIC PIANO I

Adjust the D and R in the ENV as you like. By setting the FREO in the HPF to '0' and

CHQRUS' >

OFf 1

o •

~DD

turning the CHOR US lion, you can get a Honky Tonk like sound.

OCTAVE TRANSPOSE

[11] ELECTRIC PIANO II

This sound contains very few high harmonics. Like [7], adjust the FREO in the VCF so that only the fundamental can pass. Adjust

OFF 1

~DD

the Decay Time and the Release Time in the ENV according to your preference.

21

[12] HARPSICHORD A brighter sound can be obtained by cutting the Low Frequencies using the HPF

The tone color changes drastically if you alter the PWM in the DCa.

p • "

II1II

-

[13] CLAVI

Remember to set the TRANSPOSE switch to DOWN. The tone color can be changed widely by using the FREO in the VCF. Set;

ting the ENV in the VCF slightly higher might be effective.

"'" ,

o e

[!]OO

,lIlIm'a#~·IIII,IIIIIIIIIIIID·i·IIIIIIIIIIIII,IImI,IIIIIIIIImIlIlIlIl,IIIIII,1I1I1i§~tflllll,11I1!3im~ii;!JU§~1I1

iI~mT~;6i11 iiiilfa ~.

, I __ ' ' __ ' ' '

[!]OO

[14] GUITAR

0I'f ,

The tone color changes according to the FREO in the VCF. Unique sounds can be

created by setting the PWM MODE SWITCH in the DCa to ENV. Adjust the RES as well,

"f

OCTAVE TRANSPOSE

-

A 0 S

~~III == 11-

=-:::.

[15] SYNTHESIZER HARP

This tone color is suitable for playing Arpeggios. Adjust the F R EO in the VCF and the R in the ENV as you like.

OCTAVe TRANSPOSE

S •

-

-

- =

:::.

·DCO .

• ENV

Off ,

[!]OO

OFF J 1/ o 0

O[!)O

-

-----' ...... _----' .......... --'

22

[16] WAH BRASS

The settings of the FR EO in the VCF, and the ENV, are important, the Chorus effect isalso pleasant.

OCT ..... e TRAHSPOSE

Hi· • • lIIi, •••••••• , .. , •• E#lht ••• ,I.IH:!EI.li!l;Ji!!€ •• ,

.. ~- 'I' r----. ~

m~ IIlo~~~iiJ iiiiihU

I I

, ---------------------- .. ' .... '----------------,----.'---------- .. ----------'

[17] PHASE BRASS You can add a wah effect by raising the RES in the VCF. Also, try changing the

ADS R

~1111

Of'" I II

C!JOO

Attack Time with the A in the ENV. Chorus will add an interesting effect.

m .. &!, •••••••• , ..

.. LA' TR'. 'I ' r---;! ~

_IIIAAT'~' ~ ~~ O~ ~~I'~O~' ~U~~~II.:-II. ~U _~~ILFOU=~

= I~~ ~ ~= LPv -

'-----. - -'----_.'----_ ... '

C!JOO

[18] FUNNY CAT

The tone color changes widely by the FREO in the VCF.

ENV .

A C 5 fI

CHORUS

OFF I II

o "

'i- _ ED

I OELAYT"~I 'I' r---, ~ I I

iD~iIlIO~6~~iiJ iilhPjl ~ l1li

'------.._------------- ... ---------'..._ --' ...... ------.'----------'

[19] PULSER

IIUII

r-: c:: =_::l

~ = --=

c:: == == ::l

OfF I II

o "

[!JOO

As the Pulse Width is controlled by the LFO, the tone color changes periodically. The

period can be adjusted with the RATE in the LFO.

.' ENV

. oeD'

OCT ...... E TRANSPOse

ADS R

~~ ~II: 'ul~

c:::: -==::::t

CHORUS

Off I II

o 0

O[!]O

23

[20J PHASE Adjust the ENV in the VCF.

COMBINATION

OCT""" TRANSPOSE

". III IE'lI §~f ·....+111·';114

I DECAY T'~ , I ' r-1 IJ

'I' D~A" TI'·~ ~·II~FO -~ O~~~~ '1~=U1 U:~II'_FrEO RES ~ :u:fH'D!I~~OO ee ~II~ °lllt~ ~~6

<= = I:::' -. i <::- Vc:- I ==:::.

--- ..... ' .. ---------'-----------

[21 J SYNTHESIZER SOUND I

Different kinds of synthesizer sound are obtained by turning the ENV polarity switch

in the VCF to positive. Set the FREQ in the VCF to the appropriate position.

..... , T"'" , I ' r-1

ill ~ ,1I8~~6~ til

'----

, •• II#I· •• , ••••• E· m·....... .. §~k

"'"" ""'ORE' ~HVlFO ..... 1 AD"

U-- I u= 10- II DO"'"

~~g~ ~ ~ == ._ .~

CHORUS .,

I

-,'--------"-,----_ .. '._----'

O[!]O

"'" ,

o 0

[22] SYNTHESIZER SOUND II

You can find several interesting sounds by adjusting the RES in the VCF, the polarity of the ENV, and the ENV itself.

OCT""" TRANSPOSE

'e· III lIB

I D£~T_I ' I' r-1 ~

'.DJ~;~-~~I~III~!~~o~ ~6~1J-~~ UAm II"'""'" ~II~- ~Ol;:

I =; - I r= - ':::' <:: v- c: -

I, ,' ... , ,, '. '

OFF ,

iI"

OHCilRUS

o 0

A •

~ 111= U;

__ :::J

o~o

[23] MYSTERIOUS INVENTION

The impression of the sound changes depending on the position of the ENV in the VCF. Adjust the LFO in the DCa and VCF to a

desirable level. Chorus will add spaciousness to the sound.

OCToW£ TFiANSPOSE

CHORUS; -.

o 0

0" ,

~OD

Sample Sounds II

24

III The following example patches are specifically single tone musical instruments. Accordingly adopt a non-legato playing manner and avoid overlapping_ You can also make effective use of the BENDER.

If the effective pitch range of the sample sound is narrow, you should play within the range which allows the sample sound to represent its features properly.

[24] VIOLIN

By adjusting the FREO in the VCF, you can produce both hard sounds and soft sounds. Adjust the ENV in the VCF, the A in the

ENV, and the RATE and the DELAY TIME in the LFO depending on the phrase.

DCO'

....... -

f14TE""'; MOO!!:

c s •

"" ,

IIIIU

- ---

- ---

r-: -==:-=:::;

~~ = - =

- =:=l

[!JOO

,-------------------------',---'------------'---,'--------.'--------'

[25] TRUMPET

By slightly moving the ENV knob in the VCF, you can subtly change the brightness of the sound. Also, you can find the TRUMPET

sound you prefer by controll ing the ENV and the FREQ in the VCF.

Ii. _ lIB ytP

iI~IUJ!6~6~ijj iill~U ~ III:

--- -----,' ------' ..

:26] HORN

Play with the TRANSPOSE DOWN. As controlling the FREO in the VCF is a delicate task, it should be done while you are actually

OF> ,

" 0

[!]OO

listening to the sound. Regarding any Brass sound, controlling the ENV in the VCF can change the brightness of the sound.

- vep .

on ,

---

CHORUS ••

o •

[!]OO

25

[27J TUBA

Controlling the A in the ENV is particularly important. Adjust the ENV in the VCF as well.

OCTAVE TRANSPOSE

'v IIWI 1I!II1,IIIIIm#Dtrlllll,11I1I3~i!£·!;~J'~flll,

ce .... v TOrG I 'I ' r-----o n

RATE TIME MOOE I LFO PWM: rt.J...., r;};! sua osc NaSE FREO FREO RES ! ~7\1 LFO 10'80 D S "

IB 0:111]1 O~ oiJo III III ~ 111 ~ _

,------1,-----------------,'----------,---,------.'------,

[28] FLUTE

Setting the F R EO in the VCF is critical. Also, by using the LFO in the VCF you can gain a growl effect.

OF' ,

a •

[!JOO

'i- · · _ .. 1, •• E§Dh'I •• I,I.[i3~:tI·1;l1!i'16.1,

I DELAY'~ 'I ' r-1 IJ

I II'·T. 'M~ _.~ ~~DI'W~ 0:_6~~ ~rug u....,~UJL-~ - r-: i~~D_:8D f,;; ·11= u~

i = u= ~ lEil,,,, " • ~ =_ ~ ~_J' i ~"T _ ::;

I i i ! .. ., ,

, --

OCTAVE TRANSPOSE

OF!' ,

o •

~OO

[29] CLARINET

The impression of the sound can be changed by adjusting the FREO in the VCF. By slight-

Iy ra ising the LFO in the DCa, you can get a vibrato effect.

Hi- 1m IIDI 'd'

DE",,.ool r I' ,--, IJ I I

lI~m~N~ M:~. '11I~Fo __ ~ 0': ~b1I1~~~ U=~~ :U_:_AEQII'" • ;U;_NVII"~Di8D ". '. .~ iii "_III~" 0 S!U'!~ I

i c ::i U 1;= -:::i - - = - = PIC' - \;d c = - I U~" 1<= = :=-

.... ____.' ' '

[30] OBOE

Setting the FREO in the VCF and the RES is important. A vibrato effect is obtainable by slightly raising the LFO in the DCO.

CHOBtiS

"'" I

o 0

[!JOO

VCF'. -,

OF' ,

OCTAVE TRANSI'OSE

~f,;; 1101=

un --======

!WI C := == ::::J

~OO

26

[31] SAXOPHONE

The tone color changes drastically by controlling the PWM in the DCa. Also, controling the FREQ in the VCF, and the A in the

ENV is important. Set the LFO in the DCa, and the VCF to the desirable level.

ocr_ tRANSPOSE

'i· 1:&.. id'

RATE ~ ~ I "0 ~ I ,b.~ ~osc scee 'REO 'REO •• ~ J7NV ,,"",eo I' o s , I

III ~:lIh~ rill] II DIIJ ~ _ ~ III

, 1 .... _, ,_, '. ,

[32] BASSOON

Controlling the FREQ in the VCF, and the RES is important.

eHORtlS ~

01'1'" 1 II

o 0

[!JOO

OCTAVE :RAN5POSf

IIiI 111111I1I13~hl'IIII,1I1I3~i!l·i;lj'mFIlI .

i~II~~~661i IliIrlll ~liIIi

' '._ _' 1 ,

• i.

[33] XYLOPHONE

OFF I !I

o '"

~OO

Use the SUB OSCILLATOR as a sound source and set the TRANSPOSE to UP. With the Arpeggio on, a repetition effect tremolo is

obtained {RANGE -+ 1). If you set the RANGE to 2, an octave repetition is obtained. In this case, please play single notes.

OCT .... E TRANSPOSE

- ..

j;1116~~6~ii °111["1 ~I.

'--------------------------------.'------------------'--------------.'----------'

u.

34] GLOCKENSPIEL Set the TRANSPOSE to Up and adjust the FREQ in the VCF.

OfF ! II

~OO

OCTAVE RAHSl"O$£

Qa. ..

RAT£o;~' = I ,,".ww 1 no ~ ~~- ...., REO AU r-;; ,.0 "80 ii, 0 S "

IIO:II~ h~~ODII UIII~UI ~I_I

' ',_ 1_1. -----,

OR'" I II

[!JOO

27

[35] PERCUSSIVE SOUND I

The pitch varies depending on which key you press, and many kinds of percussive sounds can be obtained. The impression of the sound

can be changed slightly by adjusting the 0 in the ENV. Adding Noise as a sound source might have an interesting effect.

'i- · · _ .. i, •• I=mtIC ••• ,IBIi31i1·i!ii;:l!"@a •• ,

1 ~I'~~~ =, '=1"01~~ I ~ ~ ~I"'~SCI~ '_IF""'=UJ~AEO RES. ~OlIEHV LF01_

~ ~():I~ liO~OCIJ~== ~~I~= ~L~

-

Of'!' ,

o 0

OCT ....

TRANSPOSE

. ,

l1li

_

_

r-;

~ _

UiJ.

[!]DD

[36] PERCUSSIVE SOUND II

It is effective to add CHORUS and play in a normal way (with chords).

OCTAVE TRANSPose

'Ie 1II1, •••••••• I,E1I!, •• I§lfIC •• I,I.ra31:t·!liI;:l!J1tlB .1,

II-w ~ =1~,ol-16~ 64~1~=111 ~-~=III~-" riOll;v LF~I;ao_

1=' :::> i- = v -.-

'----- -

C!JDD

o •

IH'F ,

[37] SYNTHESIZER DRUM

The pitch of the drum can be changed by adjusting the FREQ in the VCF.

OCTAVE TRANSPOSE

OFF ,

o •

~OD

[38] WHISTLE

As the sound is made by the VCF in Self Oscillation, an accurate pitch is not necessarily obtained. When accuracy is required, adopt

the method of extracting the fundamental from the sawtooth wave of the DCO to make a sine wave {see example [7J l.

OCTAve TRANSPOSE

Mi. III.. §tr Bit'hJik

'ATE°'\~' ,;~ I "0'- I ro" ~sc""" '",0 I '""0 ReS ~v "0 ... 0 I A 0 s, ""'

~r~ --I ~I= 'I~ o~ DOD ~I-li II:~I == ~II=U- D~ i ~~fll~=I= ~ .~ I' ~DU~ [!Joe]

~~u.....I;:::=:::; - CI-1:::; -;:::;c: IJWi I UQ, ~=-

, 1, ---,- 1_, .. ' ,

28

[39] BIRD CHIRPING Turn the Arpeggio on. (RANGE + 1, RATE+ 6 approx.) It sounds more realistic if you move the RATE up and down.

OCTAVE TRANSPOSf

OFF I II

o 0

~DO

----'--------------------

•• !dE- ••••••• I·m· ••••••• I, •••••••• ,.. am

I ~:v TRta! I I i r--., r----, I I

RATE TIME MODE LFO PWM r(;j ....., ~ sue OSC NOISE FRED F~Ea RES EN.., U'O 1Ir8D " D 5 A

II CC 1111 O~ ITO III Ullh PlJl ~ l1li

'--------------------------',--- ----'--------,'--------'

[40] DOG BARK

You can make various types of Dog Barking sounds by adjusting the ENV and pressing different keys .

OCTAVE TRANSPOSE

[41] SPACE SOUND Playing chords is effective.

- CHORUS •

OFF i II

o 0

~OO

OCTAYE TR.ANSPOSe

Ig. _ .. , •• m •• I,I.1!311:t~.liI!;li!Q.I,

DELA' TO", r~--' r····.., _0 s 1'''-' I A 0 S ,

~IITE ""~ ""Oo~ =I~,ol~~ O~ ~~~ =I~~IJ-~ =U~ ~ ~ n =I~- ~. .~ II ~r~.=: D-= -n~ I~

0'1 1"'-;; - ~=- --_!"'~~ u_'I~="

'-----------------------------------'--- ---------------'.-------- ...

[42] WIND

OFF I U

Q 0

OC!JO

Keep the HOLD on, and the sound will

remain even after releasing the keys. You can control the strength of the whizzing wind

with the LFO in the VCF. Playing chords may prove interesting.

8#. III ", •• 1!9!Id~· ••

111I~m ~~~ ~ l'I~FOI'~iTo~=ltb)scD~ I~".~ ±~or~~I= ~ "" g~~it I

! :=- '= u= I;: 3 ;:;- := '= '" . ,i':1~I~L ~;; l}£J, .lm:;;j~ i

___________ '_ _I 1 _

OCT"'" TRANSPOse

CHORUS '

OFF 1 II

" 0

O[!JO

~UUIIU

Synthesis Memo

29

.,.,. ";!Q=§c\i. h. . . .. EBI .+".1;1'8

11 1 I _, - _"ill I u,,~ ~ '~~ A ~-- I'·' I ,., - ~w '''.~ I I·,·" I ~' "

I DOli 0 O~O: =~ 1.111= -~ [):'II= I O~ooo 111= = ~ 1°1\:111-;: 0 ilr~ri rn 1.- ~rll 000

c::~ I ~ za =F v 0::: =~l§ i =~= I

____ , 1 !_I _1, 1 '

30

31

~'i-

DCO VC1 •

rr-

-

D's

- .

~

L-...: __ -:'--_ 1

T

0:

1!1 ~ ~Ii'i~!.w~. i_u • 71_ -=

------~--- , ---

000

Specifications 32

• JUNO-6 • 6 Voice Polyphonic Synthesizer

Keyboard 61 keys, 5 octaves

DCO Waveform (rru ./1 QsJ ) Pulse width modulation

PWM mode switch (ENV/MANUAL/LFO) Sub Oscillator level

LFO modulation

Noise level

HPF

Cutoff frequency

VCF

Cutoff frequency Resonance

Envelope modulation Polarity switch (.0- V) LFO modulation

KCV follow (0 - 100%)

VCA

Control signal select switch (.0- .ri.)

Envelope generator

Attack time Decay time Sustain level Release time

LFO

Rate

Trigger mode switch (AUTO/MAN) Delay time

Controllers

Volume

Octave transpose (DOWN/NORMAL/UP) LFO trigger button

DCO bend sensitivity

VCF bend sensitivity

Bender lever

Arpeggio

Mode switch (UP/U&D/DOWN) Range switch (1.2.3)

Rate

ON-OFF switch

HOLD

ON-OFF switch

Key transpose

Key transpose button

Chorus

Mode switch (OFF, I, II)

Rear panel

Output jack (mono, stereo) Output level (L/M/H) Phone jack (stereo)

VCF control jack (FV-200) Pedal hold jack (DP-2)

Arpeggio clock input jack ( 1 step/ 1 pulse = over +2.5V) Tune (±50 cent)

Dimensions Weight Power Accessory

1060(W) X 113(H) X 378(D)mm 141 %X 47;f6X 14% in 11 kg /24Ib. 4oz.

25W

2.5m connection cord

* Specifications are subject to change without notice.

Options

33

• Headphones RH-10

• Keyboard Stand KS-2

• Foot Volume FV-200

• Pedal Switch DP-2

• Carrying Case CB-JUNO

Ik§ fPRoland

JUNO-6 OWNER'S MANUAL '82. DEC. E-3

'.