For some years I had problems with getting my fore/aft balance sorted out while skiing. It was undoubtedly a good part down to technique, but also to do with my boots and my anatomy (skinny calves, etc). It's been better in the last couple of years and I no longer feel, in general, that I'm struggling to get out of the back seat most of the time.
The problem is that it can still be thrown out by the 'wrong' ski setup. I have my own skis, but I live in Britain and generally fly to the Alps to ski. In the last few years, the airlines have introduced such high charges for ski carriage that it works out more economical to hire skis in the resort, so that's what I've been doing. Unfortunately, this introduces another couple of variables into the equation that I have no control over, namely binding delta and mount position, and my experience is that these can have quite a marked effect. By this point, I'm trying to juggle with a tricky equation of boot forward lean, boot internal ramp angle, binding delta and mount position, and I'm tempted to throw up my hands in despair.
Now, sometimes the mounting position is determined by some kind of rail binding and a good rental place might be persuaded to move it back or forward a little (although I've never tried). But there's nothing I can do to change the binding delta. (Or is there? Is these something I can do inside the boots, for example, to counteract a too high binding delta?).
Given that I have to get what I'm given in terms of tuning (edge angles set for scraping intermediates, for example), I'm wondering whether there are inevitably just too many compromises involved with rental skis for me ever to be able to ski really well on them? Or are all these little adjustments of angle, etc., just the icing on the cake? Is it possible that a good skier can learn to compensate for most of these things without significant compromises in performance? I used to be interested in audiophile hi-fi, but there came a point when I became sceptical that all these little things like cables, etc., could make anything like the huge differences which were assigned to them, otherwise the whole enterprise was effectively so precarious that achieving top quality sound with a combination of all the constituent parts working together would be just pot luck. I am sometimes reminded of that when it comes to skiing.