Product Review: The Roland VG-99, The Arsenal Of Guitarocracy - Page 2

Up From The Floor

The VG-99’s case is the first sign that Roland has radically rethought their guitar modeling system. England’s Sound On Sound magazine once dubbed the aesthetics of the predecessor VG-88’s black metal case as a cross between a doorstop and the Stealth Bomber, which seems apt, particularly since the VG-88’s case was designed for floor use. In contrast, the VG-99 is housed in a silver plastic case that looks like it could pass for a later version of one of Roland’s iconic drum machines. It’s designed for tabletop use, or on stage, via a metal stand, which Roland sells as an optional accessory. Another accessory from Roland allows the VG-99 to be rack mounted.

But many will find the tabletop design of the VG-99 a handy adjunct to their PC-based recording efforts, which was Roland’s intent from the start. Unlike the VG-88, which had only quarter-inch stereo and headphone jacks, the VG-99 provides a variety of audio outputs. In addition to the same quarter-inch stereo and headphone outputs, the VG-99 adds USB, digital (via an RCA-jack), and XLR outputs.

There are also MIDI inputs and outputs, and the VG-99’s USB output will also transmit MIDI data from a guitar with a compatible hexaphonic pickup. There’s also what appears to a network jack, which is designed to connect the VG-99 to its FC-300 floor controller accessory.

While the floor controller isn’t required to operate the VG-99, it does provide several intriguing options, not the least of which is its foot pedal, which, depending upon the patch selected, can perform one of several functions. It can be a volume pedal, useful for both volume swells, and simply adjusting the output level of the VG-99, particularly on stage. It can also function as a wah-pedal, and it can manipulate pitch, including both whammy-bar style dive bombs, and individual strings. In other words, for those who don’t wish to purchase a B-Bender-equipped Telecaster, the floor pedal can be programmed for some pretty amazing-sounding bender licks — with much less chance of breaking strings in the process!

Article Author: Ed Driscoll

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