Well by naturally I would have to say that I was too damned stupid to understand how things worked and had to enlist a coach to translate and decipher the right hand for me. That’s an ongoing thing, but it’s really starting to bear fruit now and it’s pretty cool. So yeah, I am a “new” (to me) DSX-er, although I probably should have ran with that decades ago. DOH! Idiot!
DSX just seems to be where I am gravitating towards and honestly, I would be happy with anything I can get. USX or DSX, I don’t care as long as I can successfully play the notes i want to - and I am realizing that although I need to make some tweaks hear and there in respect to the arrangement of the notes sometimes; the notes don’t care. Play 'em in whatever location works as long as they sound good and are rhythmically intact. The audience won’t care either, just sound awesome!
As far as scale fingerings go, those fingerings that you are talking about are called “traditional” scale fingerings and are the ones present in the Berklee books by William Leavitt, and other books a la Mel Bay etc. Great for position-based sight reading, not great for extremely fast sequential playing, however they “can” work out just fine if you use Bruno’s economy/sweep picking. Obviously they work great for Jimmy, right? Frank Gambale’s REALLY got that stuff dialled in and utilizes the 3nps scales as his source of ammunition and has said he found those traditional “in position” shapes too restrictive for what he wanted to create.
Personally, I just know where the notes are and can find 'em in and around a 4 frets for 4 fingers type area no sweat. BUT I don’t really like just playing (or listening) to pure up/down scalework in music - mine or otherwise so I’d argue/present that maybe being married to one particular fingering system may not be conducive to one’s goals? Note awareness as opposed to drilling in a scale fingering habit? I hope that helps, man. (Keep in mind that I am nobody lol)