“A superb-sounding and well thought-out pro-end keyboard”: Roland V-Stage 88 & 76-note keyboards review

What is it?

If you have ever ventured on stage as a keyboard player, you will be well-versed with the complexities of keys-based performance; the need to have access to a wide breadth of sounds, has never been more of a challenge.

The new Roland V-Stage is embracing this head-on. It’s a feature and sound-packed instrument, which includes just about everything that a keyboard player could need, in order to perform music from the last 60 years, whether amateur or professional.

Pricing

• 88-note $3,999/£3,459/€3,999
• 76-note $3,499/€3,499/£3,027

The V-Stage range was announced at NAMM 2025 and was one of the biggest releases from the Japanese giant at the show.

Both the 76 and 88 were available for sale from launch, with prices not budging in the short time since the announcement and the writing of this review.

There's not much difference in price, but then, there's not much difference between either model, really. Although 76 semi-weighted keys come out nearly 7kgs lighter than the flagship 88, fully-weighted model.

Performance

It’s difficult to ignore the fact that the V-Stage looks fairly familiar, with its considerable number of red flashes and beautiful red end cheeks. We’re very sure that didn’t happen by accident, but placing visual aesthetic to one side, we had the opportunity to examine both the 88-note fully weighted model, and the smaller 76-note semi-weighted version.

Both models are identical, with the obvious exception being the keyboard size. Housed within a beautifully engineered metal casing, V-Stage comprises four clearly defined sections, which act as the sound sources, described by Roland as Parts: Organ, Acoustic Piano, Electric Piano and Synthesizer. The Synth section is doubled, meaning that you can generate two sounds simultaneously. It’s worth noting that many of the audio effects associated with these Parts, are included within each section, but there is a further separate Total Effects section, residing alongside a Master section, handling the attributes relating to the V-Stage output.

88-note good

Choosing the right size of keybed, for gigging purposes, normally comes down to the singular issue of whether you want a fully weighted keyboard or not? (And will your back cope with the weight, assuming that you don’t all have a roadie to lift it for you!)

The 88-note version is predictably a fully-weighted affair, with a hammer action and escapement, specifically designed to accompany the Acoustic V-Piano section. The semi-weighted 76-note offers a refined velocity detection system, aftertouch and a ‘waterfall’ feel. NB, there’s no aftertouch on the 88-note!

Apart from the missing 12-notes between models, there is a 7kg difference in weight. Undeniably, the piano experience of the weighted keybed is sublime, but that might not be enough if you just need a lighter keyboard. The 76-note playing experience is good, but the keyboard does feel predictably lively, and there is a sense of considerable ‘thudding’, when you find yourself playing with heavy hands.

Pianos, pianos, everywhere!

Turning to the sound engines, we start by engaging with the V-Piano section. This section offers unlimited polyphony, so you’ll never get a sense of note-stealing. Unlike many competitors, the Acoustic Piano section is modelled, rather than sampled. From the player and listeners’ perspective, this means that there is a certain organic nature to the sound, but moreover, you have capacity to change every element of the timbre, down to the most subtle nuance. In editing terms, it is a programmer’s dream. It also means that you can extend beyond simple EQing, which can be really important when playing through a large PA. Big sound systems don’t always respond well to acoustic pianos.

There’s a considerable collection of pre-ordained piano instruments. Alongside the more usual Grand and Upright models, there’s a beautiful new Felt Piano, which has become something of a ‘ballad’ and ‘soundtrack’ favourite in recent years.

The large central display guides your path at all stages, with the electric piano section, located to the right, mirroring the acoustic section to the left. Included here are various incarnation of Rhodes (dictated by year), with Dynos, Wurly’s, various digital and FM-styled pianos, and finally Clavinets. Interestingly, there is no CP-80 Electric Grand here, but you will find representation of this patch within the synthesiser section. It seems strange not to include this in the electric piano section, but there we go!

The EPs are mightily impressive too, but are extended further by the inclusion of Tremolo, MFX and Amp simulators, within the EP section. Selecting sounds is an easy process, through the pressing and turning of a dedicated pot. The crystal clear display tells you everything that you need to know, with the ability to quickly assign Favourites, for speedy retrieval.

Hammonds and more

The organ section also offers unlimited polyphony, as well as hosting a number of different organistic options. There are plenty of Tone Wheel and Transistor-based organs, as well as church-like Pipe organs. Much like the EP section, distortion is baked in to this section, with a dedicated pot to increase the amount of drive.

The Organ section is also equipped with real drawbars. These perform beautifully, although there is no notching on these faders. Slightly disappointingly, these faders are not assignable to MIDI, for use as MIDI controls. However, there is full rotor control, both within the organ section and from two chunky assignable buttons, located on the left-hand side. The Rotor can also be placed under pedal control. We also have to mention that the Hammond playing experience on the 76-note, is really quite exceptional! Runs and glissandos are exceptionally easy to manifest, so this might be a consideration, when choosing model size.

The Synthesiser section could be regarded as fairly basic, but not in sonic variety. The V-Stage ships with 400 ZEN-Core tones, opening a wealth of possibilities through the Roland Cloud. Thanks to the V-Stage’s USB connectivity, you can load model expansion titles, such as the Jupiter-8 or Juno-106. Importantly though, it’s really easy to just activate the section, for the purposes of placing a pad or string sound behind a piano. It’s the kind of thing you can do easily, on-the-fly, which is exactly what you need when playing live.

The onboard synth controls are however a little basic. There are two Attack/Release envelope pots and solitary pot for filter cutoff. You can control filter resonance, but this requires pressing the shift button, while turning the filter cutoff pot! Yep, we know! Why, Roland, why? However, you do get two synth engines for the price of one, and in doubling, you can create some exceptionally large textures.

Practical control

As each section is so clearly defined, it’s very easy to immediately switch sections on and off. Control backlighting is mostly in white, with the part on/off buttons illuminating in red, so you can clearly see where to go to deactivate a part.

With so many sounds and parts in play, you can store any overall patch in what is described by Roland as a Scene. This stores all active sounds and settings, including applied effects. There are 512 Scene locations available, but you can also chain together up to 128, which will prove very useful for building a set list.

In the quest to create the perfect stage keyboard, Roland conducted plenty of research, in discussion with professional players. The net result is a number of useful additional features, such as connectivity for Apple’s MainStage package, which becomes controllable from the V-Stage. MainStage connection is simple, thanks to the USB-C socket on the rear, although there are also USB-A ports, for connecting additional controller keyboards or thumb drives.

Once back home, the V-Stage also provides a built-in audio interface, which connects directly to your computer. There is even a microphone connection on the rear, which you could use live, or use to record at home.

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Verdict

The V-Stage is undeniably a superb-sounding and well thought out pro-end keyboard, which clearly has aspirations of capturing part of the market. In use, the sounds are very effective and highly authentic. As a playing experience, it’s right up there!

There is a wealth of live-inspired control, allowing keyboard zoning and layering, guided by the central display. Splits can be instigated anywhere on the keyboard, unlike some competitors, which dictate split points.

Ultimately, whether you choose a Roland V-Stage over anything else will probably come down to the feel of the keyboard. Sonically, it’s as impressive as you would expect it to be, and for our money, we would consider the 88-note model, if you’re playing, is more pianistic. If you are more of a synth and Hammond player, the 76-note could be a game-changer.

Hands-on demos

RolandChannel

Everything You Need to Know About the Roland V-STAGE Keyboard - YouTube

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Alternatives

Nord Stage 4: at nordkeyboards.com

The ubiquitous Nord Stage is now on its fourth iteration, boasting a redesigned keybed and effects section.

Read more about the Nord Stage 4

Yamaha YC Series: at uk.yamaha.com

Yamaha's YC series of stage pianos also includes a 61-key version alongside the 76- and 88-key variants.

Read more about the Yamaha YC series

Specifications