Thank you for your compliments. The tone production with flesh and gut is a subject that I'm particulary obsessed with. There is a lot of mysteries for me at this point so I can't share all my conclusions yet. But I know that -at least for my skin- it is extremely important to keep my fingertips hydratated (I put cream very often). I don't use any kind of lubricant as some players did in the past.
Also, in my oppinion the paradoxically bright and metallic tone inherent to the flesh -If you try playing with flesh for the first time you will notice how crispy and bright a non developed flesh tone can be- needs to be somehow compensated. There are different ways of doing it but in my case I do it with the position of the right hand. I literally play over the 19th fret. The more distance between the bridge and the pluking point, the more elastic the string is -because there is a biger segment of it that can stretch-. And also, at that position I can produce a sound that is rich and that has a pleseant balance between the lower and the higher harmonic frecuencies of the guitar. If you look at pictures of the Tárrega school players like Pujol, Robledo, Llobet or Tárrega himself, you will notice that in 90% of the pictures they place their right hand over that area.
I have no commercial interest with any string maker in particular, but the gut that has given me best results so far is made by Damian Dlugolecki.
BTW what do you think about this tone(attached link)? It is belived that Juan Mercadal was a flesh player, but I heard some strange stories about an accident that made him loose part of a finger of the right hand and thus his tone in his last years.
-Daniel Bernaert 2011 after Torres 1864 "La Suprema". Spruce/Mapple
-Juan Montes 2010. Cedar/Madagascar Rosewood
-Hijos de González ca.1890 Spruce/Walnut ( Sons of Francisco González, Madrid) [SOLD]
-Ramirez 1965 Spruce/Indian Rosewood [SOLD]