Actually I have a lot of experimental data that I gathered whilst trying to develop the "ultimate bolt on neck joint". I still worked as a mechanical engineer then and had access to all the instrumentation, transponders and transducers that I needed. It was basically stuff we used to measure NVH (noise, vibration and harshness) in prototype vehicles and powertrain rigs.
There is absolutely no doubt that different types of tonewoods have a significant effect on tone as long as the vibration from the string has a good path to the body. Fully floating trems will in effect isolate the string from body so the only feed back that the string will get from the body is via the neck; if this includes a convenience fit bolt on or a badly glued neck the bodies input will be negligible. Body generated tonal colouring is best transmitted through simple well coupled bridges like two post wrap arounds; add rollers,cams, levers and springs and it's the bridge that will have the biggest effect on any tonal changes to the the strings basic vibration pattern. Just compare the difference in tone between a Floyd Rose with a steel sustain block and one with a brass one.
I spent so much time researching this subject that I thought it was worth putting a brief summary of it on the website at
http://www.legraguitars.co.uk/construction.htm This is just a brief summary; there's much more detail on the same subject on the link to Jet guitar at the bottom of the page.
As MDV will no doubt verify, we actually engineered a guitar using a variety of materials in different places to produce a sound that was very clearly defined within tight parameters in advance; an exercise that I am happy to be repeating with Mark right now.
The attached pic shows the use of a mahogany insert to "soften" the bridge mount to give a warmer sound.
