FEATURES The JP16 has the same contoured body shape as the JPX model, and it’s 1.75 inches thick, like several of the new models.
As a result, it’s priced slightly higher than the original John Petrucci model but less than the other guitars in its family.
Ernie Ball Music Man describes the JP16 as “a combination of the original John Petrucci signature model and later Ball Family Reserve models,” but it also could be described as a John Petrucci model designed for players who prefer more traditional features.
• Pickups are a new version of Di Marzio Illuminator humbuckers with custom wiring that engages the two inner coils when both pickups are selected and the tone control’s push split function is engaged.
• A built-in preamp circuit provides 20d B of boost when the master volume control push boost function is engaged.
The most notable difference between the JP16, which is available in six- or seven-string versions, is its black Floyd Rose 1000 Series Pro floating tremolo, which replaces the custom Music Man John Petrucci tremolo and its piezo pickup option.
As a result, the JP16 is also further streamlined by the lack of a standard/piezo/mix selector switch on the upper bout and the piezo pickup’s corresponding volume control.
by 1973 and in January 1974 the final name, Music Man, appeared.
Leo Fender did not like the name Tri-Sonix, so the name evolved under Leo Fender's suggestion to call the new company Music Man.
One significant upgrade is the roasted maple neck, which undergoes a heating process that dries and hardens the wood to make it more resonant, similar to well-aged wood.
The neck has a smoky ebony fretboard, 24 medium jumbo stainless steel frets, a flat 17-inch radius (compared to the 15-inch radius on the original model), and 25 1/2–inch scale.
In 1975, Fender's legal restriction had expired and after a vote of the board he was named the president of Music Man. He also owned and ran a consulting firm called CLF Research (Clarence Leo Fender) in Fullerton, California.