Places. Lights. And now — the beam. Twenty-three millimetres, then twenty-three and a half, then twenty-three again. Feel the cruelty of that, darlings: half a millimetre, in the middle, and it changes the entire character of the instrument. Half. A millimetre.
Let me give you the company in full, because every one of them has a part. A head of 645 square centimetres — one hundred square inches. Length 68.6 centimetres. Balance at 320 millimetres, poised, neither heavy at the tip nor dead in the hand.
Three hundred grams unstrung, ten and a half ounces.
The stringbed is 16×19, the open pattern, and it arrives unstrung, which means the final act is yours to direct. RS Section is a hoop profile that marries the square cross-section, which gives power, to the round one, which gives control — a marriage, on stage, every single point.
And the technology, which I promise you is not scenery.
Isoflex varies the frame's stiffness around the head instead of keeping it uniform, so the sweetspot widens and an off-centre ball does not humiliate you. And the weight has been redrawn towards the centre of the frame to lower the swingweight, so the head accelerates faster without the balance shifting. That is not a tweak. That is a rewrite between acts.
Katerini, then, and I want you to FEEL this. Eleftherias Square with its Statue of Liberty — that name, in this town, on this square. The cathedral of the Holy Ascension on Eirinis Street, a name that means peace. The municipal park with a made lake and a fountain, because somebody decided the town deserved water it did not naturally have.
And seven kilometres east, the pier at Paralia, running out into the sea like an exit line.
Half a millimetre at the throat. Nobody in the audience will ever know. Everybody will feel it.
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