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I had a thought today about the M2 and M5 relationship that has led me off on a tangent. I sketched an approximation of the M2 and M5 nodal lines on the top of the violin that I'm graduating. M2 passed right through the center of the post location that I had laid out. I tried to tap and listen for the flex point to verify it, and it seems about right. It made me wonder whether any study has shown whether there is a benefit to having the soundpost location end up directly on the M2 nodal line. It makes intuitive sense, but my intuition doesn't always apply well to violin physics. I'm thinking that top M5 pushes down on post and into back M2 and vice versa, which may complement B1 and B-1 if there's synchrony with that node? Has anyone seen a study that relates to this question? I'm tempted to mark the node on the plates before assembly by setting up a tone generator, then check it again when assembled (perhaps with dust or seeds inside?) to see if it's still in the same place and whether it's under the post. I have no idea how much the location of this node varies, but I would assume it is a function of arch and graduation. If you follow a successful pattern it probably ends up in more or less the same spot, but you could probably move it somewhat while graduating. Even if I checked this, and determined that it did end up under the post I have no idea how I would assess whether there's any benefit to it. Thoughts anyone?