I'd do what works for you. When in calico tuning, for some tunes I use index finger instead of middle finger because the index finds the right intonation fast while the middle finger often seems in doubt in this tuning. Have to admit, I cannot picture what you wrote, these note names and trying to figure it out ask to much of the hard drive of my brains. A video would make it clear all at once and I'd probably conclude the same: if it works for you, why not ?

Possibly just me, but I'm having trouble understanding where you're starting from and where you're going. I'd be happy to give an opinion when I'm sure I understand because fingering issues can be important, both in what can make a passage easier or harder.

There are likely some rules that can be invoked by some, and if so they're worth hearing, but in my opinion these problems are worth considering from a practical standpoint, too. I tend to think of those kinds of changes where I put a finger somewhere out of the position as position changes and often, not always, I'll play further in a phrase before changing back to the original position.

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Originally posted by Brian Wood

Possibly just me, but I'm having trouble understanding where you're starting from and where you're going. I'd be happy to give an opinion when I'm sure I understand because fingering issues can be important, both in what can make a passage easier or harder.

There are likely some rules that can be invoked by some, and if so they're worth hearing, but in my opinion these problems are worth considering from a practical standpoint, too. I tend to think of those kinds of changes where I put a finger somewhere out of the position as position changes and often, not always, I'll play further in a phrase before changing back to the original position.

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Simply that I want to play a C# on the A string with finger 3 instead of finger 2.  Then I can slide it do D instead of putting 3 down to get to D.  And I don't have to swtich 2 to the D string to play the next double stop as it's not doing anything on the first double stop.

If I understand you correctly, you are moving from the two notes - E string open, and C# on the A string (not really a double stop) to F# on the E string and D on the A string, and wondering whether to slide from C# to D with the third finger, or use both 2nd and then third fingers. I'd say it depends on whether a slide is desireable there or not.
However, I play the D - F# doublestop with first finger on the first string, not the second, and I think you should too. Then there's no problem using the second finger on the C#, which would be standard technique. You don't need to move it anywhere - just lift it up for the D note with third finger. Hope this is clear.

If you are aiming at the D as your landing note, and you're sliding up to it for effect, then starting the slide on your 3rd finger is correct to my way of playing. Just to be clear, what key are you in?

your fingers, your fiddle, your choice!

Hmm for E-C# would normally use 1 on D, 2 on A. Then for F# - D would use 2 on d, 3 on A.

But if you like to do the ‘slide’ with 3 instead, go for it! Intonation may be a bit trickier, and you’ll likely get the sound of a slide in there…but if you like and want that sound, it should work fine! :-)

Oops, wrong strings, It's D-A string. D string goes E->F#. A goes C#->D

Ok, now we got the correct strings. Here's what I was gonna say before but deleted it because I thought I was on the wrong strings.

Third finger on C# and 1st on E is a thing but I only ever saw it in classical. It's usually used when an A7 chord is required; 1 on E, 3 on C#, 2 on high G 1st string. That's a triple stop but sometimes this chord is used without the 1st finger E.

However, it would be good practice to use the double stops of the sixth as 1-2, 2-3 and 3-4, both majors and minors. If you wanted to slide up I would slide 2-3 into their position from just below pitch. Of course, what you are suggesting can work.