The Osage I've used has had properties that are pretty much a drop-in replacement for BRW. Black locust tends to be an 'improved' version of IRW, with similar stiffness, somewhat lower density, and much lower damping; more along the lines of BRW in that last respect. Both Osage and Black locust darken up nicely when fumed with ammonia. Persimmon runs fairly close to Macassar ebony in properties; sadly it's hard to find any that is also black. It can be dyed all the way through, but the process is hard to make reliable. Cherry is very similar to Honduras mahogany, perhaps a bit harder and more like Caribbean. I'd rate it as the best 'local' neck wood I've used, and it also makes good B&S sets, of course. I've gotten some mulberry wood that is also quite similar to mahogany. Black walnut has mechanical and acoustic properties very similar to European maple, but having a darker color it tends to be perceived as having a darker tone. Butternut is quite similar to 'Spanish cedar', if a bit stringier in texture. You'll like it for Classical and Flamenco necks. Quarter sawn White oak is becoming one of my favorite B&S woods. It's in the density class with the heavier rosewoods, but has somewhat higher damping. All of the guitars I've made of oak have been good ones. White oak will also darken on ammonia fuming.
It's not too hard to measure many of the properties of wood, such as density, Young's modulus along and across the grain, and damping, and these go a long way toward determining the acoustic properties. These measurements can help you sort out candidate woods without spending a lot of time making instruments that don't turn out as well as you'd hoped.
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