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Some of the loudest guitars are bolt-on. There are many Mahogany guitars with glued necks that are dead acoustically and only come alive when plugged in. That's basically every second modern Gibson Les Paul. Interesting that the Suhr is last though. The Modern Satin is loud acoustically because of the satin finish and Mahogany construction, so says Suhr.
That's an interesting one—I dig the finish a lot. I'd be worried about the Basswood body (I've never had good look with Basswood in the Ibanez guitars I've tried), but I'd be able to sell it relatively easy here in Ireland.
The bridge is too, but I reckon saddles are more important than bridge (harder, denser material being louder) then the bridge itself, then the block if it's a trem (I know one player who upgraded to a stainless steel heavy block in a strat and went back to cheap pot metal because it sounded warmer).
Then the body and neck woods and neck join, then fingerboard wood.
I don't even know that fingerboard wood makes any difference at all, if I'm being honest.
Body woods do affect the sound I reckon, but I'm of the opinion it's hard to say what each wood sounds like tonally - people hear what they want (Ooo this les paul sounds fat, must be the mahogany). I've heard an all maple les paul (that's all maple raw power les paul) that was really warm and rounded sounding - not the stupid harsh bright thing you'd expect.
I think bridge materials and nut make a big enough difference to be picky about them. I don't think I'd ever discredit a particular method or material simply because it removes sustain or imparts high-end since both of these attributes are somewhat subjective and not always important. Jazzmasters are inherently poor at sustaining as long as a neck-thru Yamaha SG, but they're still perfectly good guitars.
My music:- https://soundcloud.com/hubobulous
(b) Oh yeah absolutely, it's entirely personal preference. I'm just saying that, for me, I prefer 43mm. For someone who prefers 42mm obviously it's not a negative point at all! )