Starting on the fingerboard

I'm still doing some tuning on the back and belly. Tuning seems to be the king of thing you do for an hour or so, then do something else. Something else turned into a few other things: saw out the fingerboard blank and plane it some, figure out the outline of a Guadagnini violin, and then take another go at the Guadagnini viola outline after gaining some insight after cracking the violin code (I think). They are different, the violin is WAY slimmer, I call the viola "Fat Boy", but that's not politically correct. Good thing I'm not into politics. I think Guadangnini went about designing both instruments the same way, but looking for different things.
The thing I'll talk about here is the fingerboard. Most people just buy a blank. Again I'm not most people. I like to go to the wood store and tap on a bunch of wood blanks and hear how they sound. I did that the other week and picked up a chunk of ebony and another of the Honduran Rosewood. I can't help it, the rosewood just sounds better. Since this is supposed to be a straight up instrument, the ebony is the pick. Right now it is planed top an bottom fairly flat. I put tape on it to mark the long cuts. The small end is about 9mm thick and the wide end is about 13mm thick. This is because of the radius on the top. Do the trig, it doesn't hurt. At first glance fingerboards seem simple enough. That's what I thought. Then one day a few years ago someone wrote on maestronet what a complex engineering feat they were. What? It's just a board, angled on each side about 2 degrees, with a 42mm radius on the top, a 5.5mm flat along the edge, undercut underneath from almost where it cantilevers over the end of the neck, has a slight radius along the length on the top giving a .5 to 1mm relief about 2/3 of the way down, and a slight radius on the sides to keep the 5.5mm flat the same height in spite of the relief on the top. The strings can't buzz anywhere along the length when stopped by your finger, and at the same time the pressure should feel the same, from string to string and from top to bottom. Simple. The pressure part is what I'm just learning about. A straight board will not buzz, if the string height at the end of the board is not too low. Then why put the relief in? Feel. If you pull back on a long bow, you pull in the middle. If you pull an inch above the middle it will feel harder, even though the pressure on the string is the same. Move your hand even closer to the bow and the pressure seems to go up even more. The same goes for pushing the strings down on the fingerboard. In the middle of the length, an octave up, the sting will feel it's lightest. Up or down the fingerboard from there and the string feels tighter. You can make the fingerboard so the clearance at the end is less than normal and the undercutting is a little more than normal and the feel will be almost the same the entire length. Most fingerboards aren't done this way, I don't know why. May be tradition, may be projection, may be something I haven't thought of. Anyway, a fingerboard is more than it seems, but not a thing to worry about. But then again I don't worry about anything.