Comparison (pt 2); Myles Kennedy & NF53; Pickups/Electronics

[Monahan]

This post is for anyone with a passing interest, those deciding between the two, AND those who are bent enough to justify owing both

Part One focused on the necks; this one the pickups/electronics.

Again, trying to be as objective as possible; I love both guitars— they are my #1 & 2 in a collection of two*

NOTE: both are strung with new DR Pure Nickel, 10-gauge strings~

Amps
NF53 directly into a Blond Fender Deluxe Reverb Tone Master (Celestions), I adjusted the Volume until the amp began getting crunchy when digging in on an E-chord. The comparison is based on these settings; to provide a baseline, the settings don’t change.

Overdriven tones were obtained through a Helix using a 74 Marshall patch created by the guys at Worship Tutorials (they’re really good at these things) and played through our church PA.

Pickups
Both guitars are advertised having “Narrowfield” pickups:
NF53 = “Narrowfield DD ( Deep Dish)”
Myles Kennedy = “Narrowfield MK”

In general, the NF53 favors a single-coil sounds, while the MK is closer to traditional humbuckers.

Versatility
Based on the spec-sheet, most mistakenly assume the MK is a more versatile guitar. However, in use I find the NF53 to be just as versatile— perhaps even more. How can that be? The MK has five-pickup options, to the NF53’s mere three! Read on…

Bridge Pickups

NF53
Volume & Tone on 10, it sounds like a fat single coil. As the Volume is rolled back it sounds more like a traditional single coil, but still retains harmonic overtones. Throughout the entire sweep of the Volume control the sound remains very useable. Similarly, the Tone control is useable throughout its entire sweep.

Something special happens on the NF53; Volume on 10, rolling back on the Tone knob brings the pickup closer into humbucker territory. With Volume on 10, and Tone on 5 the sound of a very sweet traditional humbucker emerges. This setting really shines when using overdrive.

MK
V-10/ T-10, sounds like a clear, bright humbucker. Rolling back on the Volume takes it further from a humbucker. Sweep on the Volume with the Tone on 10 is useable throughout, but the difference is less… dramatic than the NF53.

MK Tone control is useable through the sweep. With the Volume on 10, rolling the Tone from 10 to 5 mildly thickens the tone. From 5-1 it darkens up much like a traditional humbucker.

Both Pickups

NF53
V-10/ T-10 Sounds like a traditional bridge humbucker with its Tone rolled back to 6 or 7; still clear & bright with good bass and a present midrange. Rolling back the Volume quickly cuts that midrange presence, and goes into single-coil tones. Volume on 10, rolling back the Tone useably softens the highs. Below 3 it starts sounding muffled.

MK
V-10/ T-10 sounds as one would expect; big & bright but with more bass thanks to the neck pickup, less honky. Think of it like a bridge pickup with a different EQ— shifted to have less highs and more mids, with a more present bass frequency. Volume on 10, rolling the Tone back reacts as did the bridge pickup. Tone on 10, rolling the Volume back yields a useful sound until 7; below that a significant drop-off.

Neck Pickups

NF53
V-10/ T-10 Sounds like a fat single coil, or a really clear humbucker. Rolling the Volume back darkens the tone quickly. Below 8 sounds like a single coil, loosing body below 5, and by 2.5 its nearly off. Volume on 10, rolling the Tone back softens the highs and doesn’t get muffled until 2. Again, the real beauty of this guitar comes from experimenting with Volume/Tone combinations; resulting tones are very much it’s own thing.

MK
V-10/ T-10 sounds like a powerful humbucker. Rolling the Volume back darkens it up until 8, where single-coil tones jump out. At 5 the bass starts dropping out. Volume on 10, rolling the Tone back to 5 very subtly softens the highs, and a sweet growl happens in the midrange. Tones begin to muffle about 2.5. Single note lines are still fun to play even with the Tone completely off. Experimentation with Volume/Tone settings is rewarding, but to a lesser degree than the NF53. Perhaps because the NF53 is more “single-coil” focused, so the high frequencies remain intact longer.

Overall
NF53 excels in the clean tones, and does wonderful at classic rock. It always retains clarity and a chime to the notes. The electronics are the most interactive I’ve played in guitar equipped with passive-electronics.

MK sounds wonderful clean, and excels under heavy overdrive always retaining its clarity, and the harmonic overtones make me want to hold onto single notes, and chords longer— just to bathe in the sonic goodness.

Electronics interactivity
is more apparent in the NF53, likely due to its single-coil focus; higher frequencies cut/standout more. Being more humbucker focused, the MK shines when playing overdriven tones, but I could easily spend hours just exploring clean tones on neck pickup.

In the mix
Both sit really nice in a mix. The NF53 remains sweet even with overdrive, but if you want to really push the amp— the MK is a joyous affair! PRS product page claims the MK “has the courage of humbuckers” and I have to agree, as it pushes the amp noticeably harder.

Our band includes keys/organ, overly-caffeinated acoustic guitarist/singer, bass, heavy drummer, two to three female singers; the NF53 sits a bit more forward in the mix, but the nuances of the MK still shine through. Because the band leader likes the heavier tones, the MK has been my go-to. On occasions when we have a second electric guitar I grab the NF53.

So, is the MK more versatile?
These two are closer than the specs suggest. It really depends on how you’re going to be using the guitar; classic rock, blues, jazz… it’s neck-&-neck between the two. Playing with heavy overdrive, and high gain, the MK is it.

What a way to spend this cold, grey Tuesday afternoon-- hot cup of dark coffee, and two great guitars

Side Notes
-- MK positions 2 & 4 are okay. Maybe those come to life with the right effects? Time will tell.
-- MK push/pull Tone control doesn’t work on mine. Yes it is said to be subtle, but honestly, despite how much I want to, I can’t hear a difference
-- Some of the shortcomings mentioned can be fixed with additional adjustments to the amp— However, leaving the amp set where it was the entire time provided a solid baseline with which to compare the two. In use, both guitars are more versatile by tweaking amps, pedals, etc.

 

[dmatthews]

Damn you @Monahan
Now I want both!
Ugh!!!

 

[intothevoid]

Push / Pull doesn’t work? That’s alarming

Also would have liked more detail description on positions 2 and 4 for the MK as that’s where I predominantly live when playing a 5 way wired guitar

 

[bodia]

Great write up. Thanks for taking the time to do this.

 

[Monahan]

Thanks guys!

Push / Pull doesn’t work? That’s alarming

Also would have liked more detail description on positions 2 and 4 for the MK as that’s where I predominantly live when playing a 5 way wired guitar

The Push/pull not working isn't a big deal for me as it's not something I'd ever use-- I'm always adjusting the volume & tone, and haven't a need for a "quick-switch". Also, I have other plans for that push/pull pot

Regarding positions 2 & 4:
Because this comparison was between the NF53 (3-way switch) and the MK (5-way switch) I wanted to keep it as equal as possible; so, 3 to 3.
Frankly, I'm not a Strat-guy, and those two positions hold zero appeal to me. HOWEVER, there are a few things in the works where I will be diving into those two settings, so stay tuned!

 

[vhalen50]

Push / Pull doesn’t work? That’s alarming

Also would have liked more detail description on positions 2 and 4 for the MK as that’s where I predominantly live when playing a 5 way wired guitar

they are about what you get with a custom 24 with the exact same 5 way wiring scheme. the pos 4 is a stark volume drop without any sort of a compressor or boost to help since you just cut your power in 1/4 (both NF split). Position 2 is a fatter version of 2 but i dont think you could call these stratty sound at all. Or even tele sounds.

Id like to say i love my MK but unfortunately i find myself wondering what to actually use it for. 10 years ago i woulda been in love since i was playing in a rock band, but ive been playing country/rock for the last 8 years and its just missing some core sounds that i need for a night to warrant bringing it.

 

[Mjl1966]

This post is for anyone with a passing interest, those deciding between the two, AND those who are bent enough to justify owing both

Part One focused on the necks; this one the pickups/electronics.

Again, trying to be as objective as possible; I love both guitars— they are my #1 & 2 in a collection of two*

NOTE: both are strung with new DR Pure Nickel, 10-gauge strings~

Amps
NF53 directly into a Blond Fender Deluxe Reverb Tone Master (Celestions), I adjusted the Volume until the amp began getting crunchy when dining in on an E-chord. The comparison is based on these settings; to provide a baseline, the settings don’t change.

Overdriven tones were obtained through a Helix using a 74 Marshall patch created by the guys at Worship Tutorials (they’re really good at these things) and played through our church PA.

Pickups
Both guitars are advertised having “Narrowfield” pickups:
NF53 = “Narrowfield DD ( Deep Dish)”
Myles Kennedy = “Narrowfield MK”

In general, the NF53 favors a single-coil sounds, while the MK is closer to traditional humbuckers.

Versatility
Based on the spec-sheet, most mistakenly assume the MK is a more versatile guitar. However, in use I find the NF53 to be just as versatile— perhaps even more. How can that be? The MK has five-pickup options, to the NF53’s mere three! Read on…

Bridge Pickups

NF53
Volume & Tone on 10, it sounds like a fat single coil. As the Volume is rolled back it sounds more like a traditional single coil, but still retains harmonic overtones. Throughout the entire sweep of the Volume control the sound remains very useable. Similarly, the Tone control is useable throughout its entire sweep.

Something special happens on the NF53; Volume on 10, rolling back on the Tone knob brings the pickup closer into humbucker territory. With Volume on 10, and Tone on 5 the sound of a very sweet traditional humbucker emerges. This setting really shines when using overdrive.

MK
V-10/ T-10, sounds like a clear, bright humbucker. Rolling back on the Volume takes it further from a humbucker. Sweep on the Volume with the Tone on 10 is useable throughout, but the difference is less… dramatic than the NF53.

MK Tone control is useable through the sweep. With the Volume on 10, rolling the Tone from 10 to 5 mildly thickens the tone. From 5-1 it darkens up much like a traditional humbucker.

Both Pickups

NF53
V-10/ T-10 Sounds like a traditional bridge humbucker with its Tone rolled back to 6 or 7; still clear & bright with good bass and a present midrange. Rolling back the Volume quickly cuts that midrange presence, and goes into single-coil tones. Volume on 10, rolling back the Tone useably softens the highs. Below 3 it starts sounding muffled.

MK
V-10/ T-10 sounds as one would expect; big & bright but with more bass thanks to the neck pickup, less honky. Think of it like a bridge pickup with a different EQ— shifted to have less highs and more mids, with a more present bass frequency. Volume on 10, rolling the Tone back reacts as did the bridge pickup. Tone on 10, rolling the Volume back yields a useful sound until 7; below that a significant drop-off.

Neck Pickups

NF53
V-10/ T-10 Sounds like a fat single coil, or a really clear humbucker. Rolling the Volume back darkens the tone quickly. Below 8 sounds like a single coil, loosing body below 5, and by 2.5 its nearly off. Volume on 10, rolling the Tone back softens the highs and doesn’t get muffled until 2. Again, the real beauty of this guitar comes from experimenting with Volume/Tone combinations; resulting tones are very much it’s own thing.

MK
V-10/ T-10 sounds like a powerful humbucker. Rolling the Volume back darkens it up until 8, where single-coil tones jump out. At 5 the bass starts dropping out. Volume on 10, rolling the Tone back to 5 very subtly softens the highs, and a sweet growl happens in the midrange. Tones begin to muffle about 2.5. Single note lines are still fun to play even with the Tone completely off. Experimentation with Volume/Tone settings is rewarding, but to a lesser degree than the NF53. Perhaps because the NF53 is more “single-coil” focused, so the high frequencies remain intact longer.

Overall
NF53 excels in the clean tones, and does wonderful at classic rock. It always retains clarity and a chime to the notes. The electronics are the most interactive I’ve played in guitar equipped with passive-electronics.

MK sounds wonderful clean, and excels under heavy overdrive always retaining its clarity, and the harmonic overtones make me want to hold onto single notes, and chords longer— just to bathe in the sonic goodness.

Electronics interactivity
is more apparent in the NF53, likely due to its single-coil focus; higher frequencies cut/standout more. Being more humbucker focused, the MK shines when playing overdriven tones, but I could easily spend hours just exploring clean tones on neck pickup.

In the mix
Both sit really nice in a mix. The NF53 remains sweet even with overdrive, but if you want to really push the amp— the MK is a joyous affair! PRS product page claims the MK “has the courage of humbuckers” and I have to agree, as it pushes the amp noticeably harder.

Our band includes keys/organ, overly-caffeinated acoustic guitarist/singer, bass, heavy drummer, two to three female singers; the NF53 sits a bit more forward in the mix, but the nuances of the MK still shine through. Because the band leader likes the heavier tones, the MK has been my go-to. On occasions when we have a second electric guitar I grab the NF53.

So, is the MK more versatile?
These two are closer than the specs suggest. It really depends on how you’re going to be using the guitar; classic rock, blues, jazz… it’s neck-&-neck between the two. Playing with heavy overdrive, and high gain, the MK is it.

What a way to spend this cold, grey Tuesday afternoon-- hot cup of dark coffee, and two great guitars

Side Notes
-- MK positions 2 & 4 are okay. Maybe those come to life with the right effects? Time will tell.
-- MK push/pull Tone control doesn’t work on mine. Yes it is said to be subtle, but honestly, despite how much I want to, I can’t hear a difference
-- Some of the shortcomings mentioned can be fixed with additional adjustments to the amp— However, leaving the amp set where it was the entire time provided a solid baseline with which to compare the two. In use, both guitars are more versatile by tweaking amps, pedals, etc.

Thank you for another comprehensive and interesting comparison post. Unfortunately, I fear this is driving me even closer towards getting an NF53 to accompany my MK (but don’t have the funds at present!). My store of choice in the U.K. (Andertons) have my preferred colour choices in stock (White and Black Doghair) but both with unusual grain patterns that I don’t really like). Might have to play a waiting game. On another subject, I can’t say I’m that impressed by the 2025 new colour range for both the NF53 and MK (although the gold MK looks interesting and I don’t usually go for gold tops)… no Sunburst though?!. Thanks again for sharing your latest post, oh and just to mention, I don’t think the push / pull on my MK works either!

 

[Prina]

Great review, thanks! So good to hear an in-depth unbiased review. Very interesting about the NF53 going single coil to 'bucker sounds.

Awesome looking guitars too!

 

[d^rren]

Fingers crossed for an SE NF53 sometime soon!

 

[Glide-bpm]

I enjoy having both greatly!!!!!!!!!!

 

[Monahan]

One-month Update:

Been playing the Myles Kennedy exclusively for the last month or so, and after the A/B above, wanted to bring it closer to the NF53 in terms of tonal range. Adding a little more high end to the tone would be ideal. Therefore, time to experiment with strings, moving away from the "pure-nickel" 10s.

Pure nickel have been my preference for many, many years, primarily for the softer tone and unique note bloom. Sometime in the early 90s I accidentally ended up with a set of nickel-wrap. Differences in tone & feel were immediate having spent so much time with the pure-nickels. Making mental notes of the differences, I quickly went back to my preferred strings.

String gauge is also helpful; heavier for darker, lighter for brighter. Mixing the two also (material/gauge) further broadens the possibilities.

Since then, when encountering a guitar that's too bright, or too dark I will change the string type to achieve my desired result. Doing so has saved me from ever needing to change stock pickups (well... almost never).

Starting with nickel-wrap 9s to brighten up the tone moved in the right direction, but I found this set too... spiky in the high end and I didn't care for the feel.

Then stepped down to pure-nickel 8s. Pure nickel to tame the highs and warm it up a bit, and the 8-gauge to add the higher frequencies.

Bingo-- we have a winner!!

While not quite as versatile as the NF53, the string change has been a huge improvement. Surprisingly position #2 has actually become useable (LOL), but I'm still not a fan of pos. #4. Position #3-- both pickups-- has really come to life and has become my favorite the last few weeks.

Soon I'll repeat the experiment with the NF53 and see what becomes of that.

Cheers!

 

[JDB2]

-- MK push/pull Tone control doesn’t work on mine. Yes it is said to be subtle, but honestly, despite how much I want to, I can’t hear a difference

I thought the push-pull didn't work on my MK until I tried my rig with a more treble sensitive speaker (Celestion Cream 90). Now I do hear the difference. The treble cut takes a little fizz off of crunch/high gain, which is a subtle but welcome improvement. In fact calling it subtle is an overstatement--it is nearly ultrasonic--but it does its job.

 

[vhalen50]

One-month Update:

Been playing the Myles Kennedy exclusively for the last month or so, and after the A/B above, wanted to bring it closer to the NF53 in terms of tonal range. Adding a little more high end to the tone would be ideal. Therefore, time to experiment with strings, moving away from the "pure-nickel" 10s.

Pure nickel have been my preference for many, many years, primarily for the softer tone and unique note bloom. Sometime in the early 90s I accidentally ended up with a set of nickel-wrap. Differences in tone & feel were immediate having spent so much time with the pure-nickels. Making mental notes of the differences, I quickly went back to my preferred strings.

String gauge is also helpful; heavier for darker, lighter for brighter. Mixing the two also (material/gauge) further broadens the possibilities.

Since then, when encountering a guitar that's too bright, or too dark I will change the string type to achieve my desired result. Doing so has saved me from ever needing to change stock pickups (well... almost never).

Starting with nickel-wrap 9s to brighten up the tone moved in the right direction, but I found this set too... spiky in the high end and I didn't care for the feel.

Then stepped down to pure-nickel 8s. Pure nickel to tame the highs and warm it up a bit, and the 8-gauge to add the higher frequencies.

Bingo-- we have a winner!!

While not quite as versatile as the NF53, the string change has been a huge improvement. Surprisingly position #2 has actually become useable (LOL), but I'm still not a fan of pos. #4. Position #3-- both pickups-- has really come to life and has become my favorite the last few weeks.

Soon I'll repeat the experiment with the NF53 and see what becomes of that.

Cheers!

i find myself struggling alot with my MK too. I cant find a pickup height to give me the sound I want out of these pickups and the in between positions are pretty lame. I even tried completely rewiring the guitar as a 3 way with a push pot w/resistors to coil split the pickups but that was underwhelming too.

 

[Monahan]

I thought the push-pull didn't work on my MK until I tried my rig with a more treble sensitive speaker (Celestion Cream 90). Now I do hear the difference. The treble cut takes a little fizz off of crunch/high gain, which is a subtle but welcome improvement. In fact calling it subtle is an overstatement--it is nearly ultrasonic--but it does its job.

You may be on to something...

When I engage the push/pull while playing higher gain stuff, I think I can hear a difference. However, it's so subtle I don't know if it's actually happening, or if I'm hearing a difference because I am trying really hard to LOL!

There's also a real possibility that I'm simply not hearing that particular frequency due to damaged hearing from decades of being around loud diesel, and jet engines-- not to mention more than a few concerts

 

[Monahan]

i find myself struggling alot with my MK too. I cant find a pickup height to give me the sound I want out of these pickups and the in between positions are pretty lame. I even tried completely rewiring the guitar as a 3 way with a push pot w/resistors to coil split the pickups but that was underwhelming too.

Keep at it.

Strings make a big difference, and of course there are all those knobs on the amp that turn...

Depending on your rig, a good EQ pedal, or "virtual" EQ pedal can drastically alter/improve your tone.

Sometimes the frustration with a certain guitar calls for placing it in its case, then under your bed for a month or two. Either it will have learned its lesson while in time-out, or you will have a fresh perspective when bringing it back to service. That's helped me many, many times over

Best of luck!

 

[Monahan]

NF53 Update:

After much success using Ernie Ball Pure Nickel 8-gauge strings on the Myles Kennedy, I finally got around to installing a set on the NF53.

Before starting I was really hesitant about changing from the 10-gauge DR Pure Blues-- the guitar just sounds so great as is! But, since I have several sets of the 8s on hand, what would it hurt?

Plugged into my blonde Fender Deluxe Reverb Tone Master and did a before/after session which I filmed on my laptop (using the built-in mic).

- "Before" results (10s) were as mentioned-- wonderful!

- "After" results (8s)... somewhat uninspiring.
First thing I noticed was a perceived drop in volume. Signal strength dropped like a rock when rolling back on the Volume knob. With the 10s, nearly the entire sweep of the Volume control was useable, but with the 8s, all fun stopped below 8.

Tone was different-- not bad. Notes have a narrower frequency than with the 10s. There was more... presence with the 8s, the mids . Tweaking the amp controls improved things a bit.

All the interactivity I experienced on the guitar with the 10s was gone.

Feel was mostly better: fretting, bending, etc. was lovely. However, about half of the body resonance was gone-- which became a deal breaker for me. "What else do I have on the bench...?"

Ahh-- a set of Ernie Ball Pure Nickel 9s

Volume output level is a bit lower than the 10s, but not as drastic as the 8s.

Tone: better.

Feel-- as expected, somewhere between the other two


Summary:
Pure Nickel 10s: my favorite. Highlights the interactive nature of the electronics. Volume/Tone knobs very useable.

Pure Nickel 8s: great feel, loss of volume & interactivity. Loss of body resonance (deal breaker).

Pure Nickel 9s: as expected a nice middle ground between the two. Volume knob becomes more useable. Tone not as good as the 10s, but not at all bad. Feel easier on those first position chords.

Most importantly, the lighter the strings are on this guitar, the less interactive its electronics become. With the 10s the electronics are very interactive, which is one of the things I love so much about it.

At the moment she's still wearing the 9s, and I'll live with them for a month or so, then probably return to 10s-- there's a few sets on my bench patiently waiting. Both lighter sets are great if you don't play around with the volume settings on your guitar; which is something I do a lot more than stomping on pedals.

Note: I should mention that I search for beefier tones on "single-coil" type guitars. As such, the lighter strings pull the guitar into more traditional single-coil tones-- and THAT'S something other players might prefer. These pickups are surprisingly sensitive to changes.

Funny how the 8s were great on three previous guitars (DGT, CE24, Myles Kennedy), while just okay on the NF53.

As always, I'll keep you updated