Great questions Jon. There is a rhyme and reason behind the guitars of which Carroll & I collaborate.
Ever since I became aware of metal or glass on strings, I've always loved that sound. I started off listening to blues & rock slide playing. As soon as I heard bluegrass dobro, I couldn't get enough of it. Then it was pedal steel guitar. Now I'm talking 30+ years ago. I didn't know a pedal from a non pedal steel. Didn't matter. I bought all kinds of steel records & dobro records. Country, western swing, Hawaiian, rock.....so, the music could be anything. As long as it had some kind of bar on strings.
While much of the world views dobro as bluegrass and steel as country, we know better. We know that ANY music can be played on any tuning and any related steel instrument. I'm not speaking of preferences here. I'm speaking about capabilities.
Now, I'm into resonators. If any kind of music can be played on a resophonic guitar (Jerry D., Bob Brozman, Harry Manx, Rob Ickes, & many many others), why can't a resophonic guitar be built like any other guitar, or at least with certain characteristics and attributes?
Look at Chris Knutsen's instruments. Harp guitars, harp ukes, Hawaiians, Konas, Hawiian harp guitars, teardrop bout harp guitars. Why can't the resophonic guitar be taken to where it has never been before?
The answer is, it can. It has. Look at the Selmer/Macaferri style resonator. Look at the teardrop resonator. And now we have an archtop resophonic jazz guitar. The music has no limits. The resophonic guitar has no limits. They go hand & hand. They are like the Dali Lama and a NYC dirty water hot dog....ONE WITH EVERYTHING.
And that's my philosophy. Throw a joke in there too because if you can't laugh, what good is it?
Ok, that was Philosophy 101 1/2.....