Name: Thomas Lemmer
Nationality: German
Occupation: Producer, composer
Recent release: Thomas Lemmer's new album Hope is out via Sine.

Tool of Creation: Roland Juno-60
Type of Tool: Analog synthesizer
Designed by: Roland
Years produced: 1982-84  
Country of origin: Japan

If you enjoyed this interview with Thomas Lemmer and would like to stay up to date with his music, visit his official website. He is also on Instagram. Facebook, twitter, and Soundcloud.

If you would like go even deeper, we recommend our earlier Thomas Lemmer interview in which he expands on an even wider range of topics and our conversation with him about his creative process.



What was your first encounter with the Juno 60?

When I was a teenager, my father bought me the Juno 60. I had absolutely no idea at the time. It was my first synthesizer. He bought it used from a fellow musician for 300 DM at the time. With this synth, I learned sound synthesis.

Meanwhile, the device is a good 40 years old, and I still use it regularly in my productions.

Just like any other piece of equipment, the Juno 60 has a rich history. Are you interested in it? And if so, what are some of the key points from this history for you personally?

Since I'm generally very interested in synthesizers, I'm also interested in the history of such instruments. However, I don't have a specific key point to any other artist who used it since I have always owned the synth.

What I am very enthusiastic about, however, is the use of the synth by Nils Frahm. He also uses this synth live and on his albums, demonstrating how unique the Juno 60 sounds.

What, to you, are some of the most interesting recordings made with the Juno 60?

I think it’s “Says” by Nils Frahm.



I just love these arpeggio sounds he created. An incredibly warm sound and the composition and performance by Nils Frahm is brilliant.

There are countless other recordings with this synth of course, especially from the 80s.



What interests you about the Juno 60 in terms of it contributing to your creative ideals?

For one thing, the synthesizer has a very unique sound. When you use it, it always brings its very own character into play. Its simplicity of concept and limited options help to create patches quickly. Often it is the simple but strong character sounds that feel convincing.

I tend to use it for arpeggios, warm pad sounds and sometimes basses.

Some see instruments and equipment as far less important than actual creativity, others feel they go hand in hand. What's your take on that?

I totally get that equipment can be an inspirational source, and it often is. But it should never be an excuse that more equipment is needed to get more creative. It’s actually the opposite.

But it's also true that new equipment often sparks new ideas.

What are some of the stand-out features from your point of view?

The very unique character of the filter. The arpeggio section and of course the iconic chorus section.

Prior to using it for the first time, how did you acquaint yourself with the Juno 60? Will you usually consult a manual before starting to work with a new device – and what was that like for the Juno 60?

Usually, I just play around with a new instrument, and so it was with the Juno 60. The instrument is, for most of the features, self-explanatory. But I also read the user manual to ensure I understood its features.

Tell me a bit about the interface of the Juno 60 – what does playing it feel like, what do you enjoy about it, compared to some of your other instruments?

I really enjoy the simplicity and the direct access of all parameters. You know exactly what happens when you turn a certain know. This just leads to quick results and doesn’t interrupt the creative flow.

How would you describe the sonic potential of the Juno 60?

It is limited but unique. So unique that it’s hard to replace it with something else. It’s a synth I never thought about selling.

In which way does the Juno 60 influence musical results and what kind of compositions does it encourage / foster?

It’s just perfect for calm sounds or warm pads. Perfect for ambient music or anything that needs an organic touch. It always adds something unique to a track that I would never achieve with plug-ins.

More generally, how do you see the relationship between your instruments and the music you make?

I see them like a palette of colours. Over time, you get to know your instruments so well that, like a painter, you know relatively quickly which shade you need.

So I choose specific instruments for certain tasks over and over again.

Could you describe working with the Juno 60 on the basis of a piece, live performance or album that's particularly dear to you, please?

I utilized the Juno 60 synth to create the arpeggio on my track "Serenity" from my album Hope.



The use of tape delay added an extra dimension, particularly in the Dolby Atmos version. I sought an arpeggio sound and the Juno 60 was the first synth that came to mind. I carefully crafted a patch that produced a warm, wide, and dynamic arp sound.

How does the Juno 60 interact with some of the other tools in your studio?

I have given the Juno 60 a complete service. It also got MIDI and a new keyboard that can even send aftertouch commands. So the synth is connected to my computer via a MIDI interface.

With MIDI I can now even control the filter remotely.

Are there other artists working with the Juno 60 whose work you find inspiring? What do you appreciate about their take on it?

As I said, Nils Frahm is one of these examples. He uses the arpeggio a lot with this synth and also uses it for warm pads.

He usually combines it with a tape delay. This combination is just perfect for this synth and I’m also using it a lot this way.

In the light of picking your tools, how would you describe your views on topics like originality and innovation versus perfection and timelessness in music? Are you interested in a “music of the future” or “continuing a tradition”?

I like exploring new technologies. But if I look around in my studio, most of the equipment is based on technology that has stood the test of time.

I would also say that I'm always trying to develop my sound. But the ultimate goal is to create music that will stand the test of time.