Yeah, it's taking forever all right.
If only I hadn't wasted a decade trying to read in fifths....

Mad Monk.

whatever

I'll reply again. I have no problem with presenting closed voicings. Small example in standard tuning my third and eleventh strings are identical therefore on the same fret if I move one up or down a fret I get a half step interval which I can do with just my index and thumb.and integrate into a closed chord voicing.
As far as why fouths tuning works best there's also the dot inlay factor. For visual guidance these are spaced five frets apart (a 4th) thereby simplifying string displacement and note location. As I stated earlier the logic of 4ths/5ths tuning plus this dot inlay situation allows the player much easier visual and geometric navigation. And again with some creativity any chord voicing is a snap.

And no one was being picked on. A question was asked about an alternate tuning and its possible advantages. Experimentation is good if it will yield positive results. My experiences convince me this case is not the most productive path. It's not about freedom of choice. It's about guidane and what tunings and techniques promote creativity and mastery of the instrument.
SA

Mr.Monk do you believe tuning in thirds will yield better results for voicings of chords?
The only public domain music truly written for Stick is some repertoire of King Crimson
. Therefore if you wish to play Pat Matheny, Thelonious Monk, The Beatles, Led Zep, Metallica or Bach the player must interpret and arrange for this instrument. Not always easy but that's where the creative options come in.
If you think tuning the Stick in thirds works better for you then more power to ya. My explorations, performances and teaching have me convinced that the 4ths/5ths deal is overall the most productive

Re- reading your post Mr. Monk, are you actually challenging my credibility? You ask if I've spent years studying? Okay then