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Above this mode control is the tuning control. This is a six-position rotary selector that starts with normal (again N on the control legend) and doesn't affect the guitar. Then we get five selections that will alter the outputted tuning you hear when you're plugged in: drop D (DADGBE), open G (DGDGBE), D modal (DADGAD), Baritone B (BEADF#B) and 12-string.

Along with the usual vibrato back plate there is a larger cover plate on the back to hide the electronics and a flip-top battery compartment that takes four AA cells. With rechargeable batteries the life is quoted as 10 hours, and less with the non-rechargeable batteries supplied. It's not long and there's no provision for phantom power.

A bright blue LED lights up when you insert your jack lead and flashes when power gets dangerously low. There's just one output, so if you want to use both an electric and acoustic amp you'll need an additional 'Y' switcher box.

In use

The inclusion of standard magnetic pickups is both a plus and minus. We have not yet heard a digitally modelled guitar sound that, when compared to the 'real thing', is better. Very close, for sure, especially recorded and mixed into a track, but standing in front of your amp, at volume, is a different matter.

The American Series Strat sound veers towards a modern, bright and snappy tone but it's wonderfully dynamic and musical with that elusive funk and elasticity that makes the Stratocaster so alluring. Switching to the modelled Strat sounds loses a little sparkle and dynamics.

The Tele sounds are well matched, and although we only have three, few would argue that these aren't pretty definitive. The humbucking trio sound, as intended, more like a humbucker-equipped bolt-on than a classic Les Paul but the darker, fuller grunt easily achieves fatter distortion or smoother jazzier tones.

We'd describe the first three acoustic models as modern acoustic simulations; bright, but enough to provide a convincing acoustic bed live, or a rather synthetic modern part for recording. Vintage Martin they're not. The fourth setting is a dark and solid sound that has a little archtop-like character. The fifth sound is a plunky, banjo-like resonator.

The tuning mode is very good. Unlike Variax, which suffers a slight delay in outputting the detuned note, the VG's latency is unnoticeable. That's not to say it sounds 100 per cent true. The low-tuned baritone is a little unnatural, but select the Tele model, add a little slap-back to a clean Fender amp and it's instant Bakersfield country.

The 12-string sounds at extremes a little synthetic. But use it for chordal strumming and arpeggios and, again, it's convincing enough. DADGAD is a difficult tuning to master; open G and dropped D are easier and excellent sounding.

Don't forget the master tone acts as a reverb control for the acoustic models. When the tone is full on you have maximum, full-sounding reverb which can be muted with the tone fully anticlockwise. Just remember when you switch back to, say, the Strat models you'll have to pull your tone control back up.

Getting used to the extra knobs takes a little while, so switching sounds and tunings quickly in the heat of a performance requires some focused thought. There's a slight warbling when you change pickup selections, but to our ears, no intrusive hiss or noise. The modelled sounds are thankfully absent from pickup hum.

The VG Stratocaster should be user-upgradeable; we should have a choice of different modelled sounds and tunings that we could, for example, download and install to the VG. But are we getting ahead of ourselves? As it stands the VG Stratocaster joins Variax as another example of the technology that is shaping the future of the electric guitar. Bring it on.