Joe Naylor's latest 4-string is a triple-pickup champion of versatility, playability, and lookin’ good.
Clip 1: Tone knob at 100 percent. Riff cycles through switch positions 1-5.
Clip 2: Tone knob at 100 percent. Slap riff with only middle pickup engaged.
A fantastic alternative to typical vintage-style basses. Super funky with great balance and playability.
Minimal J-style tone flavor.
Ease of Use:
Conventional thought would deem the designs of Fender and Gibson to be the standard bearers of guitars and basses. There are, however, builders that buck the norms with adventurous shapes while creating looks that hint at yesteryear. By applying function and form to their Jetsons-esque style, Reverend is among those companies, and their approach is exemplified in the recently released Triad bass.
Fans of Reverend basses will recognize the 34"-scale Triad’s body shape, which arguably takes stylistic influences from 1950s cars and sci-fi movies. Our test instrument’s korina body was sprayed in a funky purple burst and framed with white binding, but the Triad is also available in burnt brick or metallic alpine finishes as well.
The Triad’s 5-piece roasted maple and walnut neck has a satin amber finish that conveys a look and feel similar to older basses. The 6-bolt neck is capped with a fretboard made of pau ferro, which is an underrated fretboard wood, but its warmth and snappy attack make it a great choice for bass guitars. Extra points go to the use of pearloid inlays, which adds some vintage style.
The electronics reveal the source of the Triad’s name. Three proprietary Jazz Bomb pickups are manipulated by a 5-position switch, which rests above the pair of volume and tone knobs. Reverend didn’t skimp on hardware, and secondary features include Hipshot Ultralite tuners, a Boneite synthetic-bone nut, a Pure Tone jack, and a lock-down bridge.
It’s one thing to pull a bass out of its case that doesn’t feel like a boat anchor, but it’s even better to play a bass that balances exceptionally well. Our test instrument weighed in at about 8 1/2 pounds and held its position whether placed on the thigh or strapped around the shoulder. Kudos to Reverend for designing a shape that offers more than just cool looks.
Thanks to its well-balanced nature, I was able to explore the Triad’s fretboard with ease. The prominent cutaway of the lower horn provided total access to the upper portions of the neck, without me having to make any adjustments to my left-hand technique. Though I typically prefer a flatter neck shape, the Triad’s medium oval profile felt smooth, fast, and comfortable.
I explored the Triad’s tones through a Bergantino rig, comprised of a B|Amp head and HD112 cabinet. I have a deep affinity for Jazz-style instruments, so the trio of Jazz Bomb pickups had piqued my excitement prior to plugging in. I was a tad disappointed to discover that Reverend’s latest isn’t the Jazz bass on steroids its layout implies. That said, this bass still revealed timbres that were totally badass.
Pushing the pickup selector completely forward, toward the neck, solos the neck pickup, and it gave me a tone rife with lows and midrange. To my ears, it could be described as a Gibson EB-esque sound with a piano-like clang. Dialing the tone knob down turned this setting into a dub machine.
Moving the selector one position to the right engages the neck and middle pickup, which produced a tighter tone with pronounced high mids. Players that lean towards P/J pickup configurations may find their sweet spot with the second setting.
The third (center) position solos the middle pickup, and I was treated to growls with gut-punching midrange. I also found this setting to be particularly receptive to the tone knob, which provided just the right amount of finger attack or wooly warmth when desired. “Entwistle mode” would be a fitting descriptor.
If you’re a G&L fan, the fourth position’s tone has qualities reminiscent of the company’s popular L-series basses. Pointed mids, tight lows, and a slight growl were prevalent with each pull of the strings. I preferred cutting the tone knob, which mellowed the edginess and added a slight low-mid bump—excellent for pumping, 16th-note lines. The closest the Triad came to a “J-style sound” was through the selector’s far-right position, which solos the bridge pickup and provides barks abundant enough to make Jaco disciples happy.
I had the opportunity to take the Triad to a blues jam, where its sonic characteristics made a positive impression. Each note projected cleanly, with warm, authoritative tones that sat nicely in the mix. Notably, the output was impressively consistent at every position, with no pesky hum. Whether it was a ballad, shuffle, or funky groove that night, the Triad’s array of tonal options provided the ideal timbres.
Reverend’s latest bass is a fun instrument. Its comfortable design offers excellent playability and great balance, ideal for marathon performances. Thanks to all its versatile voices, the Triad can be used for many musical styles, making it a choice go-to bass for both stage and session work. It also just looks freaking cool. If you’re hunting for a bass that can deliver vintage tones with unconventional style, the Reverend Triad shows that good things do come in threes.
Watch the Review Demo:
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Created in collaboration with legendary guitarist George Lynch of Dokken and Lynch Mob fame, the Mr.Scary Mod adds an adjustable tube gain stage and an onboard Deep control, which together are designed to enable an amp to have increased sustain while still retaining note definition and dynamics.
LegendaryTones, LLC today announced production availability of its new Mr. Scary Mod, a 100% pure tube module designed to instantly and easily expand the capabilities of many classic amplifiers with additional gain and tone shaping. Created in collaboration with legendary guitarist George Lynch of Dokken and Lynch Mob fame, the Mr.Scary Mod adds an adjustable tube gain stage and an onboard Deep control, which together are designed to enable an amp to have increased sustain while still retaining note definition and dynamics.
Originally released as the Lynch Mod in February 2021, the updated Mr. Scary Mod features the same core circuit as the Lynch Mod but is now equipped with a revised tube mix combo per George’s preference as well as a facelift in a newly redesigned electro-galvanized steel enclosure. As with the Lynch Mod, each run will be limited and the first run in Pumpkin Orange with Black hardware is limited to just 150 pieces worldwide.
The Mr. Scary Mod adds an adjustable tube gain stage on top of the cathode follower position, keeping note definition and articulation while further increasing sustain. Each Mr. Scary mod is meticulously built by hand in the USA, one at a time, and tuned using high-grade components. Equipped with a single ECC81 (12AT7) in the first position and ECC83 (12AX7) in the second, the Mr. Scary Mod can clean up beautifully when rolling down your guitar’s volume, and still adds scorching gain when you roll it back up. This is a gain stage that’s been tuned and approved by the ears of the maestro George Lynch himself.
“The Mr. Scary Mod excels with dynamics and is incredibly touch-responsive, allowing me to shift from playing clear, lightly compressed cleans to full-out aggressive sustain and distortion –and control it all simply by varying my guitar’s volume control and picking,” said GeorgeLynch. “In many ways, it’s an old-school approach, but it’s also so much more natural and expressive in addition to being musically fulfilling when you can play both the guitar and amp dynamically together this way.”
The Mr. Scary Mod installs in minutes, is safe and effective to use, and requires no special tools or re-biasing of the amplifier. Simply insert the module into the cathode follower preamp position of compatible amplifiers (includes Marshall 2203/2204/1959/1987 circuits) and
immediately get the benefit of enjoying a hot-rodded amp that delivers all the pure harmonic character that comes with an added pure tube gain stage. The handmade in the USA Mr. Scary Mod is now available to order for $319.
For more information, please visit legendarytones.com.
October Audio has miniaturized their NVMBR Gain pedal to create two mini versions of this beautifully organic-sounding circuit – including an always-on gain device.
The NVMBR Gain is a nonlinear amp that transitions gracefully from clean boost to overdriven tones. Volume increases from just over unity to about 10db before soft-clipping drive appears for another 5db of boost. Its extraordinary ease of use is matched by outstanding versatility: you can use it as a clean boost, push a stubborn amp into overdrive or create a just-breaking-up sound at any amp volume.
October Audio’s new family of mini NVMBR Gain pedals includes a switchable version that allows you to bypass the effect: one option features brand logo pedal graphics, while the other sports a fun “Witch Finger” graphic with a Davies knob as the“fingernail”.
The second version in the new lineup is an always-on device featuring the Witch Finger graphic and Davies knob, with the same NVMBR Gain circuit that lies at the core of the switchable version.
- Knob controls gain and clipping simultaneously
- Stunning silver hammertone finish
- Switchable versions are true-bypass, available with classic or witch finger graphics
- Authentic Davies knobs, including the “fingernail”
- 9V center negative power supply required
- Dimensions: 3.63 x 1.50 x 1.88 in
Witch Finger (always on NVMBR Gain) demo
All October Audio pedals are assembled in Richmond, VA, and available for purchase directly through the online shop. Street price is $109 for NVMBR Gain footswitch versions and $89 for the always-on device.
For more information, please visit octoberaudio.com.