You’re famous in some circles for that kind of perfectionism. And for more persistent kinds of perfectionism too. Minion had only been out for a couple of years when you rebuilt it as a multiple master typeface. And in 1999 or 2000, you made the first OpenType versions of Minion, folding the Latin, Greek, and Cyrillic, along with the ornaments, the small caps, and everything else into a single font. I studied those fonts pretty closely when they were released, and I was amazed and delighted by what I saw. There was phenomenal attention to detail. For example, all the diacritics were subtly redesigned and repositioned, made a little narrower and lifted farther up above the letterforms. I’m sorry to say it, but in the English-speaking world, most type designers don’t know or care very much about such details. And not everyone takes font upkeep and editing that seriously.
I agree with Bringhurst although I do see some improvements in designing diacritics. I always have tremendous respect for Slimbach for making his typefaces as accessible to many languages as possible. Minion is of his exemplary examples.