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I only have experience with it for classicals but like it alot. I have made flamenco guitars with Yellow Cedar sides and backs and have used it for tops for classicals. In both cases it turned out very nice.

It does have a nice taptone but for a top it does not have the tonal range of a spruce and has less of a "played in" openness of a Western Red Cedar top. I used it for tops when I wanted a classical top with very indistinct grain and used it with a toned french polish (seedlac, which is a deeper color not light like blonde).

One of the things that YC is know for is that it is very stable. Carvers use it quite a bit. On one of my Flamenco's I used it for a neck instead of spanish cedar and it worked out well. Note that I inset an ebony or rosewood strip to stiffen the neck so the difference in stiffness between spanish cedar and yellow cedar is not an issue.

I cant speak to how it would work for a steel string but other than having a very neutral grain, it would probably be good for a lighter fingerstyle guitar.

I built one classical using YC for top, back, sides & neck.
It turned out to be a nice guitar with remarkable bass response. The highs were a little weak initially, but have improved a lot in the last 6 months.
Instead of a wood strip to stiffen the neck, I installed a single acting truss rod... Haven't had to make any adjustments yet.
I read an article by a European Classical builder who described her YC topped guitars as "harsh" sounding. That's not been my experience, but a study group of one is not very useful.
Bow River Craftwoods (Near Vancouver BC) has an increasing market for YC archtops. Some builders seem very impressed with this wood.(It sure is nice stuff to carve!)
In my experience, YC is anything but "brittle" It makes tight bends without any problem, but it is possible to get compression wrinkles on the inside of a tight bend if you go too fast.Daniel M38713.1715509259