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

Monahan

Attention all planets of the Solar Federation...
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This post is for anyone with a passing interest, those deciding between the two, AND those who are bent enough to justify owing both :D

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.

NwqEmxa.jpeg


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.

M55qybP.jpeg


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


vuuat2q.jpeg

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.

Kgez9VL.jpeg

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

KO2zzXG.jpeg

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.

QK6uNDL.jpeg

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

bH99sVR.jpeg

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.

DT3Okbm.jpeg

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.
oAq70sH.jpeg


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.
CsPHnXr.jpeg


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.

mQo6jO2.jpeg

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

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.

NwqEmxa.jpeg


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.

M55qybP.jpeg


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


vuuat2q.jpeg

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.

Kgez9VL.jpeg

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

KO2zzXG.jpeg

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.

QK6uNDL.jpeg

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

bH99sVR.jpeg

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.

DT3Okbm.jpeg

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.
oAq70sH.jpeg


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.
CsPHnXr.jpeg


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.

mQo6jO2.jpeg

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!
 
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