PRS NF 53 (left) & Myles Kennedy Signature (right) guitars
The Maryland outfit throw their hat into the T-style ring.
Myles Kennedy Signature
Introducing Myles Kennedy’s first signature model. Known for his work in Alter Bridge, Slash and the Conspirators, and his own solo recordings, Kennedy is an accomplished guitarist who brings blues and jazz style to rock guitar playing. This new signature model mirrors Kennedy’s rock sensibilities with a nod to historic designs. While the aesthetic may have players hearing chicken pickin’ in their heads – and this guitar can certainly reach twang territory – it is made to play like a rock machine.
“This guitar captures the spirit of my favorite older instruments. With that said, since we developed this guitar, most of my vintage instruments rarely see the light of day,” said Kennedy.
The PRS Myles Kennedy signature guitar features a swamp ash body, a 22-fret, 25.5” scale length maple neck with maple fretboard, and two PRS Narrowfield MK pickups. The PRS Narrowfield MK pickups were carefully voiced to capture the courage of humbuckers and the spank of single coils. PRS Narrowfields provided the perfect starting point for this design, with their ability to deliver thick single-coil sounds without the hum. These pickups are paired with a 5-way blade switch and a push/pull tone control that acts as a preset tone roll- off, bringing down the higher frequencies on the treble pickup so you can dig in to the fullest.
“I watched Myles throughout his career alternate between humbucking and single coil sounds without giving anything up on either side. These pickups took us months to dial in, and I think they capture that balance that Myles mastered beautifully,” said Paul Reed Smith.
Other features include a PRS plate-style steel bridge, vintage-style locking tuners, bone nut, and Kennedy’s “Geometric Owl” logo from his “Ides of March” solo release, representing wisdom and adaptability.
“I feel like we managed to touch on the elusive quality that makes you want to play with this guitar. It beckons you to take it off the wall or out of the case and make music.”
– Myles Kennedy
Myles Kennedy Signature Specifications
- Body Construction: Solidbody
- Body Wood: Swamp Ash
- Top Carve: Flat Top
- Number of Frets: 22
- Scale Length: 25.5”
- Neck Wood: Maple
- Neck Construction: Scarfed
- Truss Rod: PRS Double-Acting
- Neck Shape: Myles Kennedy
- Neck Depth at 1⁄2 Fret: 57/64” [22.62 mm]
- Neck Depth at 12 1⁄2 Fret: 31/32” [24.58 mm]
- Width of Fretboard at the Nut: 1 41/64” [41.67mm]
- Width of Fretboard at the Body: 2 15/64” [56.75 mm]
- Fretboard Wood: Maple
- Fretboard Radius: 10”
- Fretboard Inlay: Birds
- Headstock Logo: Signature, Decal
- Neck-Body Assembly Type: Bolt-On
- Bridge: PRS Plate Style, Steel
- Tuners: Vintage Style, Locking
- Hardware Type: Nickel
- Nut: Bone
- Truss Rod Cover: Myles Kennedy “Geometric Owl” Logo
- Treble Pickup: Narrowfield MK
- Bass Pickup: Narrowfield MK
- Controls: Volume and Push/Pull Tone Control with 5-Way Blade Pickup Switch
- P1 (Switch Down): Treble Humbucker
- P2: Treble Humbucker & Bass Coil Split
- P3: Treble & Bass Humbuckers
- P4: Treble & Bass Coil Split
- P5 (Switch Up): Bass Humbucker
The Myles Kennedy Signature Model | PRS Guitars
NF 53
The PRS NF 53 is a powerful guitar that combines classic tones with modern design. Inspired by one of Paul Reed Smith’s vintage guitars from 1953, the PRS NF 53 combines
a swamp ash body and 22-fret, 25.5” scale length bolt-on maple neck with maple fretboard with a special set of PRS Narrowfield pickups. The PRS Narrowfield DD (Deep Dish) pickups are made with taller bobbins to fit more winds and extra metal pieces in between the magnets for a more focused, powerful tone.
“I am so pleased with the feedback from the artists who have played this guitar – everyone is telling us that we have something special here,” said Paul Reed Smith. “If you are a fan of this style and tone, the NF 53 will take you where you want to go. To me to have this kind of beautiful high end without the hum is game changing.”
Paired with a volume and tone control and 3-way blade pickup switch, the NF 53 allows players to easily dial in their sound. The steel plate-style bridge, PRS vintage style tuners, and nickel hardware all work together to provide precise and reliable tuning stability while promoting sustain and powerful tone.
The PRS NF 53 is available in four stunning finishes: White Doghair, Black Doghair, Blue Matteo, and McCarty Tobacco Sunburst. Whether you are a seasoned player or just starting out, the PRS NF 53 is an addictive guitar you won’t want to put down.
NF 53 Specifications
- Body Construction: Solidbody
- Body Wood: Swamp Ash
- Top Carve: Flat Top
- Number of Frets: 22
- Scale Length: 25.5”
- Neck Wood: Maple
- Neck Construction: Scarfed
- Truss Rod: PRS Double-Acting
- Neck Shape: Pattern 53
- Neck Depth at 1⁄2 Fret: 7/8” [22.22 mm]
- Neck Depth at 12 1⁄2 Fret: 31/32” [24.58 mm]
- Width of Fretboard at the Nut: 1 41/64” [41.67 mm]
- Width of Fretboard at the Body: 2 7/32” [56.337 mm]
- Fretboard Wood: Maple
- Fretboard Radius: 10”
- Fretboard Inlay: Birds
- Headstock Logo: Signature
- Neck-Body Assembly Type: Bolt-On
- Bridge: PRS Plate Style, Steel
- Tuners: PRS Vintage Style
- Hardware Type: Nickel
- Nut: Bone
- Truss Rod Cover: NF 53
- Treble Pickup: Narrowfield DD
- Bass Pickup: Narrowfield DD
- Controls: Volume and Tone Controlswith 3-Way Blade Pickup Switch
Street Price: $2,899
The NF 53 | Demo | PRS Guitars
“I am so pleased with the feedback from the artists who have played this guitar – everyone is telling us that we have something special here. If you are a fa...
The Jack White Pano Verb features unique stereo-imagine options. “[White] wanted to be able to do sort of startling things with each speaker’s content,” says Fender’s Stan Cotey.
Hooking up with Fender for the Jack White Signature Collection—which includes the Signature model hot-rod Jack White TripleCaster Telecaster and the stunning Jack White TripleSonic Acoustasonic—is as big as it gets, and this week’s announcement is proportionately epic.
The all-new Jack White Pano Verb amp looks to be one of the most forward-thinking advances in tube amps we’ve seen in … well, a very long time! Although it’s roughly inspired by three vintage Fender models—a 1964 Vibroverb, a 1960 Vibrasonic, and a 1993 Vibro-King—the Pano Verb is a rare all-new design that is poised to thrill. The single-channel stereo amp delivers 70 watts of combined power and features stereo harmonic tremolo and stereo reverb circuits, with unique routing options through the hip pair of 15" and 10" speakers. If you haven’t checked out Fender’s video announcing the amp, prepare to have your mind blown by the possibilities.
“It wasn’t based on what we could or couldn’t do, or what even was or wasn’t possible. It was just what Jack was looking to accomplish.”
Fender Vice President of Research and Development Stan Cotey, who worked closely with White to develop the prototypes for the Pano Verb, says, “There were no restrictions as far as how wild something could be. It wasn’t based on what we could or couldn’t do or what even was or wasn’t possible. It was just what Jack was looking to accomplish.” Putting those goals into action was a kick for Cotey. “I love the fact that we’re still pushing the idea of vacuum tubes and that there are things remaining to be done,” he says. “And [the Pano Verb] is a really crazy thing. It’s fun when one of the larger companies tackles a big crazy thing and releases it in a bold manner.”
We rang up Cotey to get the scoop on designing the amp as we wait to get our hands on one.
Cotey calls the Pano Verb “a really crazy thing,” and says, “It’s fun when one of the larger companies tackles a big crazy thing and releases it in a bold manner.”
The Pano Verb has a refreshingly unique and adventurous set of features.
Stan Cotey: There’s two separate power amps, there’s two separate preamps, there’s a reverb circuit. There are two separate harmonic vibrato circuits. There’s two full, separate amps in it—there’s one power supply, but everything else, there’s at least two of.
There are several different kinds of stereo interaction that could happen. The harmonic vibrato could be stereo. The reverb, even though it’s a mono tank, could be steered to the speakers differently, which kind of gives a stereo-imaging thing. So, that opens up myriad possibilities for how things could work.
How involved was Jack in the design?
Cotey: He was completely hardcore. He cared in great detail, exactly down to fine decimal points, how it worked. He was very particular about the voicing. He was very particular about the features he knew. He’s pretty studio savvy, so he had a sense of routing, how he wanted the stereo interaction of the sections to work together. He very much had an idea of stereo-ness for the amp at the outset of it. He talked early on about miking both speakers and panning them—he wanted to be able to do sort of startling things with each speaker’s content.
I think my role was to take the stuff that he wanted to do and figure out how we could do it. So, the stereo-ness of the amp, the 10" speaker versus the 15" speaker, the routing stuff you could do where the reverb goes to one speaker or both, all that stuff came from Jack.
Jack’s Vibrasonic was a touchstone for the Pano Verb.
Cotey: That amp lived with me for quite a while. He knew that he liked the harmonic tremolo.
The stereo harmonic tremolo, that’s a fairly part-intensive circuit, even in a normal brown amp. In this amp, there’s two full circuits in it, so it is literally double the parts of one of the more complicated earlier ’60s amps, just for that part of the amp. I worked out how that works. That’s two harmonic tremolos that are in sync, but opposite polarity. So, when one’s going up, the other is going down, and vice versa.
Stan Cotey is Fender’s Vice President of Guitar Research and Development and worked with White to design the prototypes for the Pano Verb.
The reverb mix on the Pano Verb is rooted in some vintage designs, but it’s handled a little differently here.
Cotey: In the video, he talked about the reverb tank in front of the amp, which forms the Vibro-King, and that he liked the idea. I think he liked the idea of having a more comprehensive, dedicated reverb circuit in an amp, not where it’s just kind of spread on the top, like margarine or something.
In a traditional Fender amp, there’s a feed that comes off the preamp circuit that goes to a driver, which is a tube and a little transformer, and that drives the reverb tank. Then, the output of the reverb tank goes into a recovery amp, a little gain stage with a tube, and that gets mixed with the output of the channel and shoved into the power amp. So, the reverb kind of occurs between the preamp and the power amp. It largely takes the tonality of the preamp on because the tone controls are upstream of it.
Jack has an old Fender amp from the early ’60s that had reverb added. I don’t know who modified it, but they actually used the second channel of the amp as the reverb return, which I think is really super clever. Then you get tone controls for the reverb. So that’s where that idea came from. He didn’t necessarily want the reverb circuit in front. He liked it between the preamp and the power amp, but he wanted to have it be more comprehensive than what would be on a typical mid-’60s Fender amplifier.
What was the most exciting feature for you to create?
The stereo harmonic tremolo was really fun, and the journey that we went on to get there was really cool. I have a tweed amp from the late ’50s from Guild that has tremolo in it, and it’s a stereo amp. It has two separate everythings. The tremolo only works on one side, and that gives the apparent sound that it’s kind of going back and forth between the speakers. We tried having just the harmonic tremolo on one side of this, and it really wanted to have two complete full circuits. So that was one of the changes that got made.
Getting the power amps to work well together was fun too. That was more about transformer and tube selection and working the power supply parts out, getting the amps where they would distort in the right way at the right times or right level. But the harmonic tremolo was definitely the elephant dancing on the bucket with the streamers going off.