Fingerpicker survey: First point of contact + articulation

Curious about how you fingerpickers out there attack the string with your fingers. Do you:

A. Brush the pad and stop on the nail, pluck (classical method)
B. Start on the pad, pluck, brush a short nail on the sweep
C. Start on the pad, pluck with no nail
D. Some other method

Understand the tonal differences but in the collective experience, are there limitations to certain methods? i.e. speed, accuracy, clarity, maintenance...

Personally I have found the longer nail (classical method) problematic from a maintenance standpoint and in popping stings. I have been experimenting with shorter nails and launching from the pad. Not sure this is the best long term approach though ergo the survey/request for feedback.

Also curious about articulation. On the pluck, does your finger bend primarily:

1. At the big knuckle (where the finger hinges on the hand)
2. At the first joint below the big knuckle

Limitations/advantages to either method of articulation?

Thanks in advance,

Hugh

I'm a rank beginner and I think my "technique" such as it is would be more on the classical end of the scale. I have about 1/8" of nail showing beyong the quick, which means it is just a teeny fraction shorter than even with the end of my finger. I seem to be able to get a sweet tone by letting the flesh come into first contact with the string and then brush the left half of the nail over the string in a plucking motion which departs at about the high point of the nail's curve. Or something like that.

I've also found that by floating the finger off the string and bringing the nail into immediate contact with the string (no flesh first) in a quicker pluck can give a much brighter and ringing tone but it's too hard to do consistently with exact timing. But I'd like to be able to do that well one day as a tonal alternative.

Both of the knuckles you mention hinge during my plucking motion but I try to make it more from the big knuckle, as would be taught to a classical guitarist I suppose. All in all, most people see me play and think I'm trying to do a half-assed version of a classical right-hand technique. And I guess they're half right ;-)

I use about half flesh and half nail. I keep my nails just long enough to reinforce the flesh, so to speak. This isn't too different from the classical technique I was taught. Of course, you can vary your attack all over the place for different tones. Using all nail gives you a thin, brassy tone. It's useful (like every tone), but you wouldn't want to sound that way all the time.

All the movement in my hand is at the big joint. I think using the smaller joints might encourage pulling up on the strings, which would definitely slow you down.

A. Brush the pad and stop on the nail, pluck (classical method)
I'm thinking you should fire your classical teacher.