In counter, I offer up that both Doyle Dykes and Chet Atkins seemed to like them...
I think you're just saying that both Mr Dykes and Mr Atkins seemed to like classical guitars "generically"? Sure, seems to be a fair assessment.
Not sure if I was misinterpreted but I was only trying to say I don't think nylons would work on the narrow
necks typically found on steel string flattops.
Given the right neck the body could be varied according to individual tastes, although I suspect again that a certain range of sizes will be found to be best for optimizing sound.
Got a suspicion that it'd be hard to get nylons to drive a full-size dreadnought top to a satisfying level no matter how it was braced or how thin it was, for example..
For me, I am having some hand issues right now. I'm wondering if Nylon strings might be better until whatever it is going on with my left thumb finally heals...
OK, are you diagnosed with a definitive disorder or just hoping it's some kind of repetitive stress that will cure itself if the stress is reduced?
If the latter, I always advise people to look at their frethand technique.
One of the reasons I'm so adamant about using classical playing posture and fretting technique is because it's intended to put the least possible stress on the fretting hand.
Grabbing the neck like a baseball bat or the old "thumb over the fretboard" puts excess stress on the thumb's tendons and actually inhibits the range of motion of the fretting fingers.
The classical position mandates thumb perpendicular to back of neck, opposing the middle finger as perfectly as possible.
Touch tip of your thumb to the tip of your middle finger and make a perfect "O".
Then put the guitar neck between the fingers.
That should make issues about neck width irrelevant, on a classical.
Otherwise, I'd suggest going to silk'n'steel .010-.047 and even then tuning down a whole step.
You'll lose an appreciable amount of volume on a dreadnought but the string tension should be quite manageable.
But I still advocate the classical fretting position in all practical fretboard locations.
It should lower stress on your thumb tendons.
EDIT: I see Jane says the same thing.
And I was pleasantly surprised myself a couple of weeks ago when I decided to experimentally lower the tension on my F65ce a full step, on another member's suggestion.
It does take the .010 extra lights but I don't have the silk cores on that guitar, and I swear I think the guitar was actually louder.
Like the top was actually too tight at regular standard pitch.
And it was a
whole lot more fun to play!.
I think I'm gonna keep it that way from here on out.
So keep an open mind about lowered tension, especially if there's an added therapeutic benefit desired.
ONE more EDIT:
Forgive me if all that classical technique theory was already known to you, I'd forgotten you actually already have a classical to work with!