Flake Finish Jazzmaster

I have no problems with poplar, especially when used with a solid colour. Or color for those in the US. Musicman Steve Morse guitar body woods are poplar.
I'd be concerned about two aspects:
1) Total weight. Poplar Jazzmaster bodies tend to be over 5lb. You can see the examples in the showcase are 4lb 15oz, 5lb 5oz, and 5lb 7oz. A maple laminate will probably add a couple of ounces as well.
2) Softness of the wood. "light poplar" it is likely to be softer and more prone to damage than heavier pieces.

"light alder" would avoid both issues so it seems like an obvious choice. I don't know how a chambered Poplar body would perform, but it potentially gives the freedom to choose a more sturdy piece of wood without having a weight penalty. However I'd ask Warmoth what they think about the idea.
Thanks Johnny, those are some good thoughts. I found a quote from Ken parker, about 20 years ago:

Yeah, since 1981 – just trying to explore the form. I got hooked on poplar for these quick sketches because it sounds good…

TQR: Most people would turn their noses up at poplar.

Yeah, it’s believed that poplar isn’t a wood that a real instrument maker would use, but it’s cheap, it’s real easy to get wide boards, it’s easy to work with… when you try and make something fast like I was for sketching out prototypes, it’s really nice when the material doesn’t fight you. The only thing you can make fast out of curly maple is a fire – it’s the most ass-kicking stuff – it’s just awful. Poplar is kind of medium density, medium hard, and while I was making the prototypes to prove concepts on the necks I was thinking, man, this stuff goes! I fell in love with this amazing poplar material. That was the kind of encouragement I was getting for using poplar in the early ‘80s. We make no apologies for using poplar. I was making long-scale basses that weighed five pounds… and they were singing. Guys would just hold them and their jaws would drop, and that was the kind of encouragement I was getting in the early ‘80s. Now, the problem with making guitars for guitar players is that unless you’re building something that looks like a Stratocaster or a Les Paul, it’s really an uphill battle – even from world-class musicians who should know better. “I don’t play anything that was made after 1960.”

Me: I've worked with poplar making boxes and book shelves, and it holds screws real well. And I've played a guitar where it sounded really good, so really, the only issue for me is weight. I'll go with whatever the rep at Warmoth says. If they say an extra light piece of poplar will yield a heavy piece, then I'll default to alder. I trust those guys.
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My only issue with poplar is it dents pretty easily. But I've had a couple poplar guitars in my day and have never had an issue with their sound that I could attribute to the lumber involved.
For me Ken Parker's the guru.

Can some of you guys who currently own both a poplar, and an alder, guitar, drop a hammer on them and tell me which gets dented worse. Thanks!!!!!

just kidding ... sort of
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I have no agenda here just posted a pertinent article concerning tone woods. YMMV I am not trying to convince anyone either way.
Any poplar I've worked with has been one of the lightest of the hardwoods. I just cut down a huge tulip poplar this year, and I have a bunch of electric guitar body sized slabs drying, with Anchorseal painted on the ends to prevent cracking. Of course tulip poplar is actually not a true poplar, but in the magnolia family, but I think a lot of what is called "poplar" is tulip poplar.
Tulip is plentiful up where I am . Real big trees ….
Not going with block in lays.
If the guitar is turquoise, then turqoise dots, if the guitar is inferno flake then bloody basin jasper.
Probably go with maple neck meat, but if there's something interesting in the show case, might go with that. For instance, I saw a quarter sawn mahogany neck in the showcase, with a rosewood fretboard, that would look pretty nice; I'd have it done up with nitro on the back, and flake on the headstock. Once I get this all sorted out, and it comes time to pull the trigger if there's nothing interesting in the showcase, then the default is good old maple. OK, next, have to determine width, superwide or 1 3/4? Mmmh.
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Well, after much thought, if I don't find something nice in the showcase when it comes time to order, the neck will have pearloid blocks. Spud, thanks. Still stewing on width, though no matter what it will have the wolfgang profile. It's my favorite of all the options Warmoth offers.

I was looking at the Wood Database and poplar shares a lot of features with Okoume. Not bad company.
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Superwide, warhead headstock, tusq nut, 4 neck screws from warmoth, custom neck plate with the name of my imaginary company, Rick's Guitar Works, football jack plate, mono jack. The jack will be on the outer edge of the guitar, not in the pickguard.

I reckon next I have to figure out: knobs, strap buttons, pickguard layout, pickguard screws, tuning buttons. I think I'll tackle pickguard layout first. Need to figure out if I want to put the mini switch into the regular jazzmaster jack hole, of make a new one.
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Plus I'll get a cover nut and toggle cap.
Next the screws for the pickguard will be sourced from Warmoth. Chrome. The layout will be the three minis, freeway blade in the upper horn, vol and tone in the usual place, and the miniswitch in the jack hole. The working output jack will be put on the side. I'll get the neck screws, chrome from warmoth. So next I got figure out strap buttons and buttons for tuners. Plus knobs. Then I think color of the flake finish. Getting close!
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Knobs are going to a pair of those beautiful flathead tele knobs offered by Warmoth. Next strap buttons?
tunin' buttons ... hipshot pearloid hex .... next what strap buttons, then what paint color. Then ... Make up a parts list spread sheet, then order.
I'd like to ask about your experience with the Superwide neck. Is the Superwide a normal part of your Warmoth builds, or did you choose it specifically for this project?
This will be my second super wide neck. It’s similar to the country artist ovation neck. My experience is positive. If you’re used to a classical or a jazz neck you’ll find it familiar.