Before you get enamored with Kevin's back, keep in mind it makes binding the back VERY hard, particularly on venetian cutaways.

One of the biggest obstacles to overcome will be people always saying you copied Kevin's design.

Linda never demanded that anyone put a label on their guitar or website, rather she merely asked for an acknowledgement.

By acknowledging other's contributions we make our own original work have more gravitas. Most of what we all build is borrowed. A handful of innovations are either completely new or refinements on historical work. Are you who are resistant to a simple acknowledgement so insecure in your own work that you cannot bring yourself to such a simple doff of the cap?

Linda came by her work honestly. She was a lone woman in a man's world of luthierie, with no internet. There was no consensus on procedures or repair as there is today. There wasn't much of a library either -- the only texts were those written by Sloane, Young, Don Teeter, and despite their contributions, there was a paucity of information. She was a part of a group of young builders who together forged a new era in American luthierie. She's earned everything she's worked for. All of you who sit behind your computers and act with such authority with less than a pinky of her experience or contributions to the guitar community and take designs from anyone you care without so much as a "hey, I like what you've done, do you mind...." have no business coming down on Linda.

The stiffer(less flex & a high resonance) the back-the less it takes from the top.
Make a supple top & stiff back & sides.

Mike

That's one view. Another is that the back contributes complexity and by reducing the back's influence, the overall tone becomes less complex. Rather than taking from the top, the back contributes. Lessen it's influence and the top stands more alone.

My question was a technical one and nothing more. I do not want to switch the conversation to one of ethics since the luthier world is full of copying. Only one person created x-bracing but the percentage of steel strings built with one is likely in the high 90s. Innovations such as armrests, side ports and wedge guitars are part of many guitars built by people on this forum but do the builders reference Grit Laskin or Linda Manzer? Some do, some don't.

Just looking for pros and cons of a tighter radius on the back. If people have constructive input I welcome it.

I just find a stiffer B & S help with the tone,volume & projection
My clients need.
A loose(flexible) back is hard to control.
And can really mess up a clear,clean sound.
Mike

I'm not sure I said "loose floppy back".