Re: Easy to acuostically overthink this problem

I'm not missing that point and referred to the soundpost solution and other aspects of that design throughout.

I was addressing a comment that one of the people Bill was in contact with wanted a hard surface on the stand.

Seems there are 3 levels of this kind of thing. Some people simply referred to wanting to ensure they were playing on a wooden stage surface that was consistent venue to venue; some want more volume, in the case of the guitar normally this ends badly in that if you check back at the reasoning for various variations, say the Kasha digression, they end up ultimately described in other term; or the tonal complement.

I'm not overly chastened by comments of overthinking and on great artists, because anyone who has been around artists for any length of time will know they very often have next to zero understanding of their instruments technical details. The opposite is also occurs, with folks like Les Paul inventing their instrument, and others who are very technically informed. A relative of mine is a working musician, very good, he went through a whole classical guitar performance program at university, and he somehow didn't even know about the most basic things like bridge compensation. It is one thing if there is some kind of musical savant who doesn't know, but to go through a 4 year program at a well regarded UK university and not know the most basic details, is pretty amazing if one imagines that program is baseline constructed for the benefit of most professional musicians. Those are easily identifiable holes in their education, you don't even have to get into the hokus pocus of varnish or magical thinking on certain brands of stringed instruments.

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