To the revised question, I think that has been answered correctly in that there is no consensus on how body wood, neck, or fingerboard wood affect tone on a solid body bass guitar. In fact, there are basically two diametrically opposed camps- no effect, or an affect, from minimal to large.
As for the body shape and carving affecting tone, without body resonance playing an important part of the tone generation, like with acoustic instruments, I don't think it matters at all. The primary design criteria for body carving are ergonomics and aesthetics, with ergonomics being very important. Many high end solid body instruments are a serious joy to play, both on the lap and on the strap, and this is no accident. Perhaps instruments with sealed chambered bodies have some more sonic considerations placed into the body carving?
As for the value of high-end solid body instruments, it is correct that it is a personal preference. I play a Warwick Streamer Stage I, a neck-through made in Germany, and it a high end production instrument. I think it originally retailed for $2600; I bought it used. I also have my old 77 Jazz bass. The Warwick is plenty of bass for all my gigs, and if I have an oldies or blues gig the Fender works perfectly. I don't need any more or better basses. But when I play my friend's Fodera or Ritter or Alembic basses, it is immediately obvious how superior these instruments are. The electronics are better, the response, even acoustic, of the notes across the strings and along the necks is obviously better, the sound of those instruments is more cohesive and better organized. Especially the Ritter, and it looks amazing. Too me, it is blatantly obvious how much better a $10k bass is compared to a $2500 bass. Not that I can't cover my weekend warrior gigs with my $2500 Warwick and/or career girl Fender Jazz - I can and my basses are a joy to play as well - but I can see why the higher end is "worth it" even if I am not going to buy one myself.
Just so you know where I am coming from, I suppose I am the classic weekend warrior. I work a full time job in software development, and have averaged 50 gigs a year for the last 12 years with numerous bands, both cover and original music.
As for the body shape and carving affecting tone, without body resonance playing an important part of the tone generation, like with acoustic instruments, I don't think it matters at all. The primary design criteria for body carving are ergonomics and aesthetics, with ergonomics being very important. Many high end solid body instruments are a serious joy to play, both on the lap and on the strap, and this is no accident. Perhaps instruments with sealed chambered bodies have some more sonic considerations placed into the body carving?
As for the value of high-end solid body instruments, it is correct that it is a personal preference. I play a Warwick Streamer Stage I, a neck-through made in Germany, and it a high end production instrument. I think it originally retailed for $2600; I bought it used. I also have my old 77 Jazz bass. The Warwick is plenty of bass for all my gigs, and if I have an oldies or blues gig the Fender works perfectly. I don't need any more or better basses. But when I play my friend's Fodera or Ritter or Alembic basses, it is immediately obvious how superior these instruments are. The electronics are better, the response, even acoustic, of the notes across the strings and along the necks is obviously better, the sound of those instruments is more cohesive and better organized. Especially the Ritter, and it looks amazing. Too me, it is blatantly obvious how much better a $10k bass is compared to a $2500 bass. Not that I can't cover my weekend warrior gigs with my $2500 Warwick and/or career girl Fender Jazz - I can and my basses are a joy to play as well - but I can see why the higher end is "worth it" even if I am not going to buy one myself.
Just so you know where I am coming from, I suppose I am the classic weekend warrior. I work a full time job in software development, and have averaged 50 gigs a year for the last 12 years with numerous bands, both cover and original music.