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Responsiveness, sustain, and tonal richness are not "good" things in themselves. They are like salt and sugar and chilli - more of at least one of them is what you need to cure blandness, too much of them is indeed too much - and the "right" amount depends mostly on what you are trying to cook (and a little bit on your personal taste) .
@Littlejonny steers us towards the point here -
An expensive hand-made fingerstyle guitar isn't just "virtually the same" in a typical live concert situation, it is not nearly as good a tool for the job as a guitar which is designed for the task in the first place - these can be bought in any good music shop off-the-shelf for around £1000 to £2000. A good stage guitar, aside from having a high-quality pickup system properly matched to it, resists feedback and unwanted sounds. (Example: I seldom play amplified, but when I do I reach for my Cole Clark, one of my Matons, or my Furch. Any of those is a far more practicable and controllable amplified instrument than my light, responsive, hand-made fingerstyle guitars - Mineur and Brook.)
An exception: one of those Matons I just mentioned is a special case, it was hand-made by Maton's (now retired) head luthier and quite expensive. It performs very well amplified, but is also a wonderfully responsive acoustic instrument. That's Andy Allen's genius at work. BUT it still isn't quite as responsive as a dedicated fingerstyle guitar (e.g., my two, or a Lowden or similar) and cannot be without sacrificing its bash-out-a-rock-song live ability.
Back more closely to @Fishboy7's point. Responsiveness in a guitar is something you want the right amount of - not too little, not too much - and the "right" amount varies with the player, the venue (from living room to stadium and all the variations in between), the style of music, and (at least in my case) the mood of the moment.
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Violins, pianos, clarinets, even classical guitars, are all played acoustically in concert.
there is no question that they are wonderful instruments, but the inherent limitations of steel string design means amplification is necessary for practical use beyond the most niche applications and of course enjoyment at home.
The very light, responsive build of even a Lowden, never mind a high-end luthier-made instrument, is a sound technician's nightmare. You get all sorts of resonances and overtones and that's just not what you need.
Very true indeed. It's interesting that the very large majority of "classical" pros play sole-luthier built instruments (and are happy to pay the price) while the opposite is true for steel-string, where we're more likely to see Taylor, Martin, etc on stage. John Mayer has a Traugott, but that's not what's up there with him at the O2.
As it happens, I got into nylon guitars a few years back after a mate introduced me to Andrew York's music: Nylon guitars are a whole can of GAS-inducing worms on their own. Nylon strings dissipate energy so fast that building a responsive classical is many orders of magnitude more difficult.