For acoustics, most likely there is. But for electrics? Doubt it. I doubt anyone here can guess what woods were used on a electric bass or guitar without actually looking at it. That should just tell you everything. But life is short, so have fun with what you want!
I doubt many if any could guess the tone wood of acoustic instruments. Feel free to give your best guesses.
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For complete points you would need to name the top, back, neck, fingerboard, and bracing. I won't really hold you to naming the binding, head plate, and rosette materials.
My point here is that because you can't name the tone wood doesn't mean that the tone wood has no impact. All you have to do is be able to say Sample A sounds different than Sample B to show that there is a difference. The ridiculous task of asking people to tell you what Sample A is made out of without any reference doesn't tell you anything.
Even worse is when someone will take something with so many changed variables and explain. For example, my Thumb bass sounds different than my Dolphin bass. Same necks, but I wouldn't say my Dolphin sounds like Ovangkol and my Thumb sounds like Bubinga. They also have different pickups, different pickup locations, and different preamps. I like both of them. They are different, but there can also be overlap depending on how the controls are set.
The reason wood matters for tone in acoustic instruments is that they can be designed with the intention of making the wood matter. There are plenty of low end acoustic instruments that look like what they are supposed to be, but are built so that even if they have a nice starting wood species the construction techniques mute any effects the wood would have on tone.
It happens that with an electric instrument, a lot of the instrument is designed to be very rigid which decreases the relative amount the wood will have on tone. However, the parts can still have some effect on the sound of the instrument. The biggest effect on tone in an acoustic instrument is the soundboard or top. The biggest effect on tone in an electric instrument is generally the neck.
Different things a maker does can emphasize the effect or dampen the effect. The dimensions of the neck and the head stock for example. The shape and weight of the headstock and neck can lead to dead spots or wolf notes. These effects are on the extreme end of the spectrum that are obvious and undisputed as existing. The more subtle changes in tone are the disputed and argued ones.
But all of this in my opinion becomes less important based on what most people want in a rig. Unlike an acoustic instrument which will produce a sound and then that sound is generally preserved and replayed with minimum adulteration, a solid bodied instrument produces a sound, converts that sound into a weak electric signal, and then through a series of amplifiers and effects converts that sound into something else. There is a lot of processing that occurs after the wood produces any effects it might have on the tone which in most cases are going to eradicate any of those effects.
If tone wood is very important to someone, they would want some sort of preamp and amplifier that was going to color the sound as little as possible. That person would probably not use any effects or EQ adjustments. Honestly, few of us are that dedicated to having a specific sound from a piece of wood and even fewer makers are interested in teasing out the particular sound of a piece of wood.
I'm reminded of a video I saw once of Takamine guitars where they showed one of their factories in Japan producing hand crafted acoustic instruments. The comments were laced with all of these comments about how skilled and wonderful the workers were. When I watched the video all I could see was people acting like robots, making instruments to spec and no one testing to see if they were making a good instrument. Essentially, the workers just shaved the braces to a size and never checked to see if it produced the desired tone.
There is more to tone wood even in an acoustic instrument than just tapping the piece of wood and saying, "this sounds nice and will make a good instrument." True luthiers constantly check their work and try to get the best sound out of the piece of wood they are working on. There isn't an exact thickness that they always use. The fact that so few considerations are made to allow the wood to have an effect often create the appearance of no effect. So in practice for most people tone wood is more about appearance and status.
