I don't know if I'd call it "cute", but I do sometimes get surprised that anyone worries about it. Although, to be fair, how are they supposed to know unless they ask? There's a tremendous amount of dogma, hearsay, common practice, and just plain ol' BS on the the dreaded interwebs, so if anyone even knew enough to bother researching it on your typical music sites, it would be easy to get confused or misinformed.
Myself, I've always wanted every last bit of signal the instrument produces to be at least available for later processing/amplification, whether I intend to use it or not. If one doesn't want a broad-spectrum frequency response, you can certainly shelve it at different points or filter the offending bands out. But, if the instrument is built so that it's severely attenuating frequencies above some point before the sfx/amplification chain ever even sees them, then what's a mother to do if some day she wants to use/hear them?
So, yeah. 500K pots for everyone. And as long as we're buying pots, get the long-shafted version. You can almost always use those in the same places you'd use short ones, but you can never use short ones where you need them long.
Back to the original poster's question, by all means use Ebony over Roasted Maple. And be sure to burnish it and use stainless steel frets. What a lovely neck that is! If it's too bright, reach down to your stompboxes or around to your amp and turn the treble control down a smidge. Or, if you wanna present a trip hazard to your bandmates, use a cheap coiled cord. That'll eat plenty of high end :laughing7:
