I like the versatility of the banjo. I have a Ome pot with a 17 fret B and D neck which I use for re-entrant "high C" tuning (taking the fourth string an octave higher). It works on this particular banjo. (CGDA) I use a clear plastic disc (mylar?) for a resonator because I like to stand while I'm playing. That saves your back because it's lighter. My wife plays a Stew-Mac scalloped tonering and pot (ala Whyte Ladye) with a Vega 17 fret neck. The two banjo work well together, her with the lower chords and me with the higher lead parts.

I put the same resonator on my RB175 so I don't have to use finger picks. It's a Pete Seeger model by Gibson with a narrow neck which is not too cool for the Seeger style which needs a wider neck and the best pot is the Tuba-fone for that "ring".

I have a 1922 19 fret B and D tenor which drives me nuts because the neck is too wide at the frets. I prefer a 17 fret. It has a conventional resonator, pot and neck all matching.
I have tried Chicago tuning (first four strings of a guitar DGBE), dropped tenor (GDAE)
conventional tenor (CGDA) and dropped conventional tenor as they do in New Orleans (BbFCG). Nothing sounds the way I like it. When I frail the sucker, it sounds old-timey which means maybe I should swap a five-string clawhammer neck on it to replace the tenor. It's an original and I hate to mess with it and destroy it's value. If I didn't have to jerry-rig the neck on it by invasive surgery and could just swap the necks and keep the
value by storing the original tenor neck, that would be a solution but I don't have any support for this from my repair person friends.

The deal about banjos is that you are always tinkering. Always trying to get it to sound "right".

I like all styles of the banjo but I'm lukewarm about Scruggs style which still sounds mechanical to me. I know it's just a preference.

I like the old Gibson "trapdoors" that have a traditional sound. Some early six-string banjo players used it (you can't hardly find one anymore) and that Buell Kazee used it. (I love his accompaniments).

So that "Half-Barbaric Twang" is a great dream or a nightmare depending on which side of the music bed you get out of.

Frank