In my youth I worked at a paint store, and any given paint code that was labeled the same colour could vary greatly from batch-to-batch. "Could", certainly not always, and most of the time the batches were close enough that you could get away with painting one wall out of a room from a different batch, but I'd never paint two different batches on one wall.
Given differences in:
batches,
brands of paint,
types of paint,
quality of application,
camera film of yore (remember Fuji greens vs Kodachrome ambers anyone?)
digital cameras,
lighting conditions,
printing processes (one magazine's CMYK magenta is another rag's tri-colour rose),
computer screen "temperatures",
even data compression techniques,
and other technical glitches...
I'm not surprised there are multiple hues labelled as being the same colour whilst differing greatly from what we've seen in books, magazines, posters, online, in real life...
That's let alone the aging process in the case under the bed or in a store display window; on the wall in the living room or in a stand in the basement rehearsal space. Varying light, oxidation...
Unless the instrument has its original hang-tags with the colour listed, it can be tough to suss what colour it was, even a one-owner given fading of colours whether on the instrument, a colour swatch, a period advertisement, some people's fading memory. Fender's old Lake Placid Blue often turned into Ocean Turquoise as the clear coat yellowed with age. Gibson's goldtops often go greeny-gold due to oxidation of the flake in the paint ...
Ultimately, whatever the label, "Shoreline", "Aztec", "Fireglow", "Bullion", "Miser's" you have to ask yourself "do I like the colour on this particular instrument?"
So I'm told, YMMV, from what I've read, FAIK, what the heck do I know, contents may have settled during shipping and handling, sold by weight not volume, objects in the mirror may be closer than they appear...
