THE ART OF SOUND DESIGN
This pad sounds so unbelievably huge, like there’s some stereo enhancing plugin added to it - except it’s all Juno, with delay and reverb being modulated by LFO2 and ENV2! I love the mod wheel’s effects: it thickens the sound into a wild, windy soundscape using only the resonance. Very effective for setting a sci-fi or mystical ambience.
Classically trained multi-instrumentalist turned sound designer and engineer, Lily Jordy has been creating and performing organic electronic music as “Lyli J” for the past 10 years. Mesmerized by the art of synthesis and audio sculpting, she’s created many presets for Arturia’s hardware and V-Collection instruments. Her latest packs include an Air Tribute, as well as factory banks for CZ V and Pigments.
I was immediately charmed by Jun-6 V's powerful simplicity. Before I started making presets on Arturia's recreation, I was already a big fan of the classic Juno sound - so I may be a little biased! But I can safely say that this synth has so much hidden potential and astonishing modulation capabilities, in proportion to its user-friendly minimalistic design. It's no wonder that it's a favorite of so many artists, as it takes very little time to get accustomed to it and start making excellent patches.
Solidtrax is a producer and sound design duo from The Netherlands, formed by Bastiaan Barth and Menno Hoomans. Their passion for synthesizers and computer music dates back to the early 90's. In 2014 they landed their first big sound design project for u-he, followed by assignments for other companies like Roland, Propellerheads, Bitwig, Cableguys, Kilohearts and Arturia. Since 2017, sound design has become a full time profession for Solidtrax.
The Arturia Jun-6 V synthesizer is like a time machine, it brings us back to those days that we played with the real hardware synthesizer for the first time. The original synth is pretty simple in design, but it become famous for a good reason, it simply sounds fantastic! Arturia captured that brilliantly, and even added some modern features to make it more awesome!
Around The Orbit
We really believe this preset is a showcase of how awesome Jun-6 V can sound when you crank up the filter resonance, to our ears it sounds really like an analog synth in every way possible.
Thomas Koot studied music at the Conservatories of Rotterdam and Enschede. He’s an active musician and DJ, playing live with various instrumentalists. He is a former sound design teacher at the Media Music Department at the ArtEZ Conservatory, and has designed sounds for Native Instruments, Fabfilter and Arturia’s own heavyweight Origin synthesizer.
The Jun-6 V does an incredible job of recreating the silky smooth synth brass sounds of the classic Roland synthesizers. I’ve never heard something like it coming out of a computer. I really hope that users like the presets on the Jun-6 V, but I encourage everyone to try making their own on this one. It’s simplicity makes it such a joy to use. Just like the original, it responds like a real musical instrument!
The Resorgan is a pretty simple patch, but the sound has such a distinct musical character. It can feature in anything from a cheesy ‘80s tune to a modern future bass production. Listen to the sound demo or the demo-track for examples of both. With this preset, and most of the other ones, I already knew what kind of sound I wanted when I started tweaking the synth. On a lot of synthesizers, when you try to make a sound that’s in your head, it never works on the first try. When I tried sounds on the Jun-6 V, they immediately sounded ‘right’. For me, that is the unique quality of classic synthesizers and drum machines.
This preset uses some of the best features of the Jun-6 V: the inverted envelope modulates the filter cutoff, the second envelope is used to modulate volume, and LFO2 is used to modulate the size of the reverb to provide deep space sound. This preset represents, to me, all the subtleties and beauty of the classic Juno resonant filter!
Jean-Michel Blanchet is a sound designer and music producer, passionate about electronics and synthesizers since the ‘70s. He started by creating sounds on memory-less analog instruments such as the Oberheim OB-1 (his first synthesizer), the ARP Odyssey, and the Prophet 5...and never stopped!
It allowed me to build a strong experience in sound design on all kinds of instruments and devices, both hardware and virtual - which led me to be part of the Arturia Sound Design team since 1999.
Having used the Juno 106 and 6 a lot, I was very pleasantly surprised to find the very characteristic colors of these mythical machines! The resonant filter and the warmth of the chorus modes are particularly convincing. Likewise, the simplicity of the plugin is equal to that which made the fame of the original Juno series, which allows any musician who wishes to create their own sounds very easily and quickly achieve the result they want.
Broken Arrow is at it’s heart a classic Juno string sound, PWM Pulse and Sawtooth through an open filter and a slow VCA envelope. Fast random modulation of the VCA and DCO Noise level give it a glitchy character. I was going for a strange cinematic quality and being able to add delay and reverb to the sound was just what the doctor ordered there. By the way, for added dramatic development you can close the filter with the mod wheel.
Allert Aalders runs Sonar Traffic synthesizer studio in Utrecht, The Netherlands. In this vintage synth dreamland anyone can book time to record on the machines. Allert also teaches about synthesis for various schools and in his own studio. He is a sound designer with trailer and synth sounds powerhouse The Solos in Amsterdam and has designed presets for ao Arturia, Native Instruments and Audio Damage.
Although I personally don’t own a Juno 60, I do have a 106 and an MKS 50. In the end they are all Juno. And I’ve worked on plenty Juno 60’s back in the day. Arturia managed to capture the spirit of the machine and especially the beautiful lush chorus effect that defines the synth. The fact that we now have an extra LFO and Envelope (Pitch envelopes!, Random Modulation!) adds a lot to the fun, as do the delay and reverb. Opening up the JUN-6V for the first time felt like coming home, the beauty of all Junos is that they are all sweet spot. It’s extremely difficult to make a bad sound on them and that translates in this plug-in very well. I really wanted to do some bread and butter, useful, character sounds and I did, but taking advantage of the Random modulation in the extra LFO is where the icing on the cake was for me.
Simon Gallifet is a Music Producer and sound designer who has been involved in many projects alongside Arturia. As a multi-instrumentalist, he has been playing drums since the age of 5 and learned classical music theory at university. He has been actively involved in sound design and electronic music production for 12 years.
A legendary synth - very simple, which sounds incredible, without frills. I highly recommend it for beginners because it is extremely easy to use. The sound of these two easily recognizable chorus modes (I and II) is almost a part of electronic music history. These choruses remind me of so many iconic sounds, especially house music like Mr Fingers’ ‘Can You Feel It’.
I started out with the idea of recreating a sound similar to Max Cooper’s ‘Order From Chaos’ - this preset puts into perspective the possibility of creating random sequences by connecting the LFO random to the arpeggiator’s rate..