Monahan
Attention all planets of the Solar Federation...
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.

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.
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