As for instruction on the "authentic" stuff, I started getting my C6 thing together with Cindy Cashdollar's DVDs, Learn To Play Western Swing Steel Guitar: Volumes 1 & 2, and went my own way with it from there. Learned Santo & Johnny's "Sleepwalk", learned some Hank Williams tunes, tried to pick out some of Don Helms' parts, stuff like that. I have an agenda whenever I pursue a new instrument: #1: For about a month, seek NO (zero, none) additional or proper instruction and influence. Be an island that's a conduit for happy accidents. There's only one period of time when you know absolutely nothing about something. Take advantage of this with the curiosity of a child. Often some of the things you stumble upon early on when clueless, can wind up being style-defining. Any "bad habits" that show up during this period can be addressed soon enough. But allow yourself to wander and stumble for a little while. #2: Be reverent, be humble, get authentic. This kicks off the course of study that involves all the stuff you're "supposed" to do: proper technique, learning about lineage & history of the players, instruments, and styles, getting your gear & accessories together, learning classic tunes & licks. No trail blazing or wheel reinvention required here, simply digging into what's already been done that works. #3: Get irreverent. So to speak. Go your own way with it. Delve into music that has nothing to do with the "classics" which in this case would be honky tonk and western swing. I've always learned more about instruments by applying them where they're not supposed to live. For instance, I recently completed work on a rock band's record on which I used eight string C6 lap steel extensively. Some "classic" stuff fell into place but there was also a healthy dose of needing to think outside the box a bit. Aside from the usual sliding around, one of the things I discovered over the course of making that record was that the steel sounds wonderful and so different than standard guitars and other stringed instruments when simply playing chords as "diamonds" - that's Nashville speak for 'whole notes', and I think Ken L said they call 'em footballs in LA... but the slang term goes on to include sustained chords in general. Anyway, these sustained chords just sound way different on a steel. I also discovered that I love the intonation imperfections of doubling and even tripling steel tracks, sometimes exactly, sometimes with different inversions. Also stacked C6 tracks with open D steel tracks. #4: Bust that rut. Yeah you know it's gonna happen. We all "plateau" and get stuck in ruts for periods of time. There are loads of different ways to emerge from the slime. In this particular case, one of the easiest I've found for myself is to go back through my Cindy Cashdollar videos for a bit and then go screw around with some other tunes.