JUNO-6 RESOURCE PAGE

JUNO-6 Panel Controls

Follow by number and learn what each section does!

1: Transpose/Hold Buttons

Transpose allows you to move the keyboard up a specified number of steps up from C.

Hold Keeps whatever active keys pressed. If your sound has an ASDR envelope that fades the sound out, it won't hold like a sound would when in VCA gate mode and has to be retriggered.

2: Arpeggio Functions

Allows your JUNO to retrigger notes held while the orange switch is active. How it does this can change depending on the position of the "RATE" slider and the position of the "MODE" and "RANGE" switches.

When the mode switch is in the up position, the notes will cycle from lowest held to highest. When the switch is in the down position, the reverse is true. When the switch is in up and down it cycles sequentially up from lowest note held to highest, then in reverse.

3: LFO (low frequency ocillator)

A separate OSC that can be routed to the main voices to change their pitch to produce vibrato effects.

"Rate" controls how fast the LFO rate is. "Delay time" allows the LFO effect to be gradually applied to pressed notes rather than triggered instantly.

"TRIG MODE" Changes whether the LFO kicks in automaticly with your specificed delay time, or on your command by pressing the trigger button on the Performace controls panel.

4: DCO (Digitally Controlled Ocillator)

Your main source of sound.

You have 3 selectable waveforms, SAW, SQUARE, and SUB OSC (a square wave one octave below the other two, with controlable volume)

You can toggle all the waveforms at once for an extremely powerful sound.

The LFO Slider changes how much the LFO effects the master pitch of the DCO.

The pulse width of the square wave can be modified in 3 ways: Manually, controlled by LFO, or Controlled by the Values set by the envelope, and you can choose which of these you want active by the selector switch. The slider labeled "PWM" controls the amount of Pulse width modulation occurs from the previously mentioned sources.

Finally, you can introduce a white noise source by sliding the aptly named "NOISE" slider to taste. This can be useful for adding a bit of grit to bass sounds, or for making "cold" sounding patches.

5: HPF (High Pass Filter)

Moving this slider up from the bottom removes the low end bass frequencys. Can be used for making bass notes more easy to hear, or used to alter a patch to emulate the acoustic response of real instruments

6: VCF (voltage controlled Filter)

Changes how much high frequency content passes through the signal chain, much like a tone control on a stereo, difference being how you can modulate the slider and change how the frequency gains or loses emphasis.

The "FREQ" Slider as mentioned above changes how bright or dull your sound becomes.

"RES" next to it increases the volume at the cutoff point of the FREQ slider. When this slider is at the top value, it creates a pure sine wave that you can tune with changing values on the FREQ slider.

The unlabeled Switch is connected to the "ENV" Slider on this panel, which routes the Values from the ASDR envelope to the cutoff point normally controlled by the FREQ Slider. The Switch changes the polarity, or direction, this influences FREQ. In partical terms, it can change the filter sweep it makes from an inhale exhale, to an exhale inhale.

"LFO" controls the amount of signal that routes to the position and value of FREQ.

"KYBD" Applies the control voltage value of pressed keys to the voice's filter. When this value is at max, it makes a perfect octave, which when paired with a maxed out RES value allows you to play the produced sine wave like the other waveforms in the OSC Panel.

7: VCA (Voltage controlled Amplifier)

The switch in this section controls the on and off state of the ENV section directly to it's right.

"GATE" makes notes on or off depending on keypress only, and is incredibly useful for organ or bass sounds.

8: ENV (Envelope controls)

The four sliders present here are labeled A,D,S,R ; or rather, attack decay sustain release. The values here correspond to volume and how that relates to time. Moving attack up causes the sound to slide in, Decay being raised makes a sound appear instantly but bounce out of hearing. Sustain is the level the sound will stay at once the ATTACK and DECAY stages have elapsed. After letting go of a key, RELEASE is how long it takes for the volume in the sustain stage to fade from hearing.

All these values interact with each other in some way.

because you can route ENV to the filter, you can actually use the controlls here to change filter values even when the VCA switch to the left is set to gate.

9: Chorus

"Chorus" is a real world acoustic effect that is achieved by having two similar sounds emit at the nearly the same pitch; this creates a wavy, mellow effect that is pleasing to the ear.

The JUNO-6 has a electronic circut that simulates this effect at the tail end of your signal path. Button 1 introduces a signal slightly lower in pitch to create the mellow effect, while Chorus 2 adds a more pronunced difference in pitch that sounds audibly faster.

Pressing both buttons together compounds the effect and makes the speed much more rapid.

10: Performance controls

Finally, we come to the performance controls section.

Volume controls the total output out of the JUNO-6's Mono and stereo outputs.

The Square white button is your LFO trigger for activating the LFO state if you have the switch in that position.

The disk with the stick at the top is your BENDER. Paired with the DCO and VCF sliders on the upper left, you can change the values for those sliders on the main panel for performance effects, such as doing pitch slides and dive bombs.

"OCTAVE TRANSPOSE" Moves the keyboard up and down an octave in pitch, giving you more musical range.