Nope. I'm not going for it. I've made my Model 1s in mahogany, koa, basswood, and alder as well as ones with a Western red cedar body core with various caps for tops and backs. They all sound a bit different with exactly the same pickups and electronics in them. One outstanding version had Brazilian rosewood for top and back over cedar; it was my favorite of all of them. Tap tones differ in frequency and Q, and thus the effect on the strings changes. If pressed to describe the plugged in tone of my "featherweight" models...redwood or cedar body core...as opposed to my mahogany ones, I'd say they are a little more open and acoustic sounding...maybe more transparency in the upper mids and highs.
Les Paul was adamant about having the Gibson Les Paul Standards be mahogany with a maple top and having the Les Paul Customs ("Black Beauties") be all mahogany, though in the dreaded Norlin years, Gibson cheated and just painted maple topped ones black. Les and I talked about this when I visited him in Mawah when I was (for a brief time) Gibson's technical rep to Les.
A mahogany bodied Strat does not sound like an ash or basswood one. Basswood and alder sound close. At Westwood Music, we were putting together spruce bodied Strats and Teles. They did not sound like factory instruments.
The two major sonic issues with different woods are attack and sustain. Other effects are in the frequency response and susceptibility to going into feedback easily.
All the same issues that affect just how the strings vibrate (it's a mechanical feedback loop from strings to neck and body and back to strings) that are present in acoustic instruments are there in solid and semi-hollow body instruments. In short, to a great degree the strings vibration signature is determined by what they're attached to. The body and neck act as a kind of 3D tone control on the strings affecting both frequency response and phase response. At the highest level of understanding acoustics and the physics of stringed instruments, the same rules apply all the way across with the possible exception of whether the instrument is connected to a Helmholz resonator or not. I've been through this with everyone from Prof. Michael Kasha, to one of the top harpsichord makers in Paris (Hubbard Atelier) to some of the best minds in music physics research at Stanford, and everyone understands that if you change what's at the end of the strings, the strings' vibration pattern will change. This even gets down to the size of frets and the material the fingerboard is made of. Any decent Strat player knows that a maple 'board sounds different from a rosewood 'board, for instance.
And back to Les Pauls, Paul Reed Smith believes that the early maple topped mahogany bodied instruments sound better because the glue joint was hot hide glue...known to be very hard, very thin (it shrinks as it dries, literally pulling the wood tighter in the joint), and acoustically transparent...as opposed to the more modern ones...Titebond...kind of like a thin (but not as thin) layer of semi-hard rubber.
If all wood sounded the same in solid body guitars, then it would all sound the same in acoustic instruments. And it doesn't. Same rules, just different ways of exciting the air.
