The 2010s saw a resurgence of popularity among indie and electro acts such as Metronomy, driving up the price on the used market. It was also a key instrument in Chicago house. The Juno-60 was widely used in 1980s pop, house, 1990s techno music, and even today by acts including Enya, The Cure, Vince Clarke, Howard Jones, Nick Kershaw, John Foxx, A-ha, Billy Idol, Fingers Inc., Berlin, Eurythmics, A Flock of Seagulls, Cyndi Lauper, Wham!. Production ended in February 1984, when the Juno-60 was replaced by the Juno-106. The Juno-60 was also released in 1982, which added patch memory (allowing users to save and recall sounds) and a DCB connector, a precursor to MIDI. According to Sound on Sound, 'The Juno 6 was the first analog polysynth that you could carry onto a stage, switch on, and play with complete confidence that the instrument would be in tune.' It also included performance controls, an arpeggiator, and an ensemble effect. As opposed to the voltage-controlled oscillators of previous synthesizers, which frequently went out of tune, the DCOs ensured tuning stability. However, it also used digitally controlled oscillators (DCOs), analog oscillators controlled by digital circuits. It used mostly traditional analog technology, with a voltage-controlled filter, voltage-controlled amplifier, low-frequency oscillator and ADSR envelope generators. Roland's response was the Juno-6, released in 1982 with a list price of US$1295. He approached American engineer John Chowning about his recently developed means of FM synthesis, but Yamaha had already secured exclusive rights. Roland president Ikutaro Kakehashi recognized that the synthesizer market was moving away from analog synthesis, but Roland had no commercially viable digital technology. The late 1970s and 1980s saw the introduction of the first digital synthesizers, such as the Fairlight CMI and Synclavier.

Juno 6 roland