The results of over 15 years of refinement of the V-Guitar system is the VG-99 ($1,149 street), which includes guitar-processing technology unavailable in any other device. Unlike the earlier floorboard V-Guitar processors, the VG-99 is a desktop unit, with an easy-to-understand user interface the gives you full access to a huge number of parameters.

The VG-99 offers two discrete signal paths (A and B), with front-panel buttons that access the modules, and dedicated knobs to balance the A and B signals and adjust patch volume. The large dial can be used to select one of the 200 factory and 200 user presets, or you can choose from a list of categories of presets using the adjacent button. There are many assignable controls as well: six function buttons for specific parameters; five patch buttons for your favorite presets; and two control-message buttons. The panel has a D-Beam, which reacts to the 3-dimensional movement of your hand, and a ribbon controller, both of which can be used for manipulating sounds in real time.

As straightforward as the front panel is, the included editor/librarian (Mac/Win) makes it easier to edit sounds and setups (see Fig. 1). The software offers a graphic representation of every module, so you can clearly visualize every aspect of the VG-99. For example, you can create a custom COSM guitar using the hardware interface, but it’s a much simpler process with the app because you can drag the various pickup elements and string configurations into position. Most modules offer pop-up menus for parameters, and some modules (such as the effects or global controls) open new windows (see Fig. 2).

FIG. 1: A look at how the A and B channels appear in the VG-99’s editing software. Notice the effects window between the guitar and amp images.

The librarian also offers the easiest way to save, load, and store patches. Clearly, Roland put a lot of effort into making the editor as intuitive and detailed as possible, and it shows. I highly recommend setting up your patches and configuring the VG-99 in software, and then using the hardware controls for fine-tuning the unit at the gig.

FIG. 2: A close-up view of the effects window.

Get Connected

If you plug a standard 1/4-inch guitar cable into the Guitar Input on the back panel, you have full access to two audio channel’s worth of VG-99’s COSM amplifier models and guitar effects. Used like this, the VG-99 isn’t much different from the Boss GT-Pro or GT-10, although the VG-99 offers the ribbon controller, D-Beam, and FC-300 footpedal input.

The analog audio I/O uses 24-bit converters running at a sampling rate of 44.1 kHz (see Fig. 3). The rear panel has an unbalanced 1/4-inch guitar input and output—simply plug in your guitar and run the VG-99’s output to your amplifier. For studio or PA use, there are two unbalanced 1/4-inch main outputs and pro-level (+4 dBV) XLR outputs. You also get expression- and control-pedal inputs.

The digital connectors include a S/PDIF output, MIDI In and Out ports, an input jack for the Roland FC-300 MIDI foot controller, and a USB port for bi-directional audio and MIDI transfer when the VG-99 is connected to a computer. I found the pitch-to-MIDI translation to be fine over the standard MIDI ports, but slower and more finicky over USB.

The front panel has a recessed GK input jack for a 13-pin cable. Although you don’t have to use a 13-pin connection with the VG-99, the device really comes alive when you do. The V-Guitar system was designed from the ground up to be used with a guitar equipped with a Roland-ready hex pickup, such as the GK-3, which uses the 13-pin cable.

FIG. 3: The rear-panel analog I/O includes an unbalanced output for use with a guitar amp, as well as stereo 1/4-inch and XLR outputs for use with a PA or recording device.

The VG-99’s most unique processes—the COSM models of guitar bodies, pickups, and non-standard stringed instruments, and the Harmonic Resynthesis Models (HRM) of synthesizers, organs, alternate tunings, and poly-drive effects—require each string to be processed uniquely, which can only be done using a hex pickup that sends each string separately to the processor. You’ll need to know if your 13-pin pickup is magnetic-based (Roland or Yamaha) or piezo-based (RMC, Graph Tech) in order to optimize the VG-99 for your specific guitar. You can store profiles for up to ten guitars, so if you have one guitar with a Roland GK-3 pickup and another with a piezo pickup, you can store the settings for both guitars.

Stunning Models

The various COSM guitars and HRM synths are wonderful. The VG-99 includes models of classic guitars (Fender Stratocasters and Telecasters, Gibson Les Pauls, and so on) in various pickup configurations, as well as more unusual string instruments (resonator guitars, banjos, sitars). All of the string instruments models capture the flavor and unique harmonics of the original, if not the exact tone. You can also create your own string instruments from scratch.

The acoustic guitars sound great, especially when fed from a guitar with a piezo pickup system. The alternate tunings don’t sound digital at all, and can definitely substitute for physically retuning your instrument.

While earlier V-Guitar systems had limited amounts of HRM simulations, the VG-99 takes it to a new level. It models Roland’s seminal GR-300 analog guitar synth—a near perfect emulation of the original. All of the synths and organs are excellent. And because the HRM processes the actual audio signal, there is no tracking latency at all. There is much more to the VG-99 than just the COSM guitars and HRM waves, but In my opinion these alone are worth the price of the unit.

Two Rigs in One

The discrete audio paths allow you to configure two complete guitar rigs, each of which can have its own COSM/HRM virtual guitar, a virtual amp/cabinet, and virtual effects. You can switch between paths A and B and use the device as a two-channel amp/effects setup, or you can blend the two to create a doubled guitar rig or even a 2-voice synthesizer. You can blend the channels using the front-panel knob or a MIDI foot controller, as well as switch controls based on picking strength, using one of the effects modules.

With over 49 amp models, the VG-99 covers all the territory that a guitarist could wish for—Roland, Fender, Marshall, Mesa Boogie, Vox, Hughes & Kettner, Soldano, Peavey, and Matchless. There are also two bass amp models. All of them sound great, but the Roland JC models, the Marshalls, and some of the boutique products really shine.

The VG-99 includes over 26 different effects types, and any module can be arranged in any order, giving you total control over signal routing. I’ve always loved the classic Boss effects, and they are all included here—from the lush choruses to the classic overdrives. The standard effects such as delay, reverb, flanger, tremolo, compression, panning, wah, chorus, and phasing are covered, along with a host of unique Roland effects such as warp, harmonist (intelligent harmonizer), humanizer, feedbacker, slicer (audio slicing effect), and so on. They’re all high-resolution processors, with the studio effects sounding clean, and the analog-modeled effects sounding appropriately grungy, but without the digital-hash you get in lower-priced products.

Top Notch

The VG-99 does so many things well that it’s a great value no matter which feature-set you use. For anyone who owns a 13-pin GK pickup, the VG-99 is a must. But for those who don’t, this might just be the reason try one out. Either way, the VG-99 is the standard when it comes to guitar processors.

Pros: Excellent guitar and synth modeling. Easy to use. Supports 13-pin input. High quality effects.

Cons: Pitch-to-MIDI translation over USB is finicky.


When Orren Merton isn't writing and editing music-technology books for Course Technology, he simulates being a guitarist for Ember After (emberafter.com).