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Like all the other ZEN-Core-based models in the Roland stable, they use a virtual analog synthesis system that the company calls Analog Behavior Modeling (ABM). The key selling point for the Juno-X is undoubtedly the two bundled classic Juno models, Juno-60 and Juno-106. The new Juno also has a very similar synthesis architecture as the recent Jupiters, with layers (up to five), slots for plugin-like Model Expansions, drums, an AI-based arpeggiator, and more. They all feature ZEN-Core synthesis, which Roland uses across a number of instruments (MC-707, modern Fantom instruments) as well as in software form (Zenology). Like A JupiterĪs the name suggests, the Juno-X follows on from the Jupiter-X and Jupiter-Xm, modern digital synths that take design and sound-generation cues from past instruments. These are machines that reflected the Juno name in spirit (comparatively affordable, performance-oriented synthesizers) more than in sound. Roland brought the Juno name out of retirement in 2004 with the digital Juno-D, and the modern line continued with the Juno-G, Juno-Stage, Juno-Di, and Juno-Gi.
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The last analog Junos rolled out in 1986 as the Alpha Junos 1 and 2 (the latter having a longer keyboard), famous for their hoover sounds.
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MIDI arrived in 1984 with the Juno-106, perhaps the most classic of the Juno line.
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This was followed almost immediately by the Juno-60, which added patch memory. Roland debuted the Juno name in 1982 with the Juno-6, a single-oscillator polysynth meant as an affordable counterpoint to the immensely popular (and expensive) Jupiter-8.