Barely post ever. You guys got me. =)
'07 PRS Mira
I traded a '63 Gibson LP Junior and a '73 Gibson L6-S to get it...loved both instruments, but got back exactly what I paid for them and got the guitar of my dreams in return. It is basically perfect. Beautiful worn orange finish, and the moon inlays instead of birds, which I prefer anyway. It is my absolute #1. Her name is Paula.
Late 90s/Early 2000s Burny/Fernandez L6-S copy
This thing is an anomaly. It has the Fernandez branding on the headstock, but in the right light you can see "Burny" underneath the paint. I have half a mind to strip it off. Was supposed to be over $300 at the store, but due to a typo, I got it for $140. STEAL.
Hamer Slammer piece of crap special.
It is an SG/LP Special/Mira copy that I got for $80. The cheapest I've seen them used is $180, so it was still a steal. It's sparkly blue, and by most accounts ugly af. This is my primary guitar when playing shows, as I get "a little animated" when I play. At our last show, I almost knocked a cymbal completely over when thrashing about. At the next practice a week later, I noticed I had chipped off about half of a chop stick out of the headstock in the collision. I ain't even mad.
Yamaha FG-150 "Nippon Gakki" Acoustic
These things have a cult following, but are still only around $200 used if you can find them. $100 if you go with the made in Taiwan version. I've had it for almost 25 years now (since I was 12 or so). Yeah. I'm old.
Gallien Krueger 250ml
Gallien Krueger 2100sel
Gallien Krueger 2000cpl into a TubeWorks MosValve MV-962
I just LOVE LOVE LOVE the 80s-90s GK guitar gear. Most GK fans love the \m/METAL\m/ shredding sounds of the distortion channel, but for me, the clean channel is unparalleled by most solid state AND tube amps. The metal sounds are still really good, but more of a niche sound. Alex Lifeson of Rush and Dave Murray of Iron Maiden were both big proponents of these models, and while I can't hold a candle to either of them, I am FAR more of a Rush guy than a Maiden guy. Ultimately, I have three different versions of the same premise.
TC Electronics Metal Muff
I was one of those guys with a Boss Metal Zone. While I understand why they are much maligned, I think the main reason is that people would push the gain past 11 o'clock and get just terrible, terrible tones. I still have one for my backup rig, but I keep the gain at about 8 or 9 o'clock and it's still pretty brutal in a Tool/Helmet/HUM sort of way, which is my wheelhouse. The Metal Muff is just so much better in almost every way though. I still keep the gain on it at about 9 or 10 o'clock on it, and it has the same sort of attack and breakup and chug as the Zone, but with more clarity and "life." The "Top Boost" is also a great option for lead tones to just cut right through. Since my rhythm tones are often bassy as all get out (ALWAYS dropped D), it helps to have one button to cut right through when I play a lead/melody/harmony line.
Caline CP-24 -OR- 1980s Boss GE-10 Graphic Eq
I use a Boss LS-2 Line Selector so that my Metal Muff always has an eq on it. That way, I can leave the pedal on at all times and just switch over to the eq'd pedal or bypass the chain entirely. It's quite ergonomic that way.
Maxon RTO700 Real Tube Distortion
This might be the best pedal ever created. For slight warmth boosts, it's amazing. To push a tube amp's high-gain channel "a little further," it's amazing. For a nice, heavy distortion that doesn't push the realms of Pantera, it's amazing. Since I have the Muff/Zone for my heaviest of heavy sounds, this pedal does everything else that's not my favorite pristine GK clean. It is seriously the best pedal ever. During a show, I'll tweak the gain knob almost everywhere on the dial, and it's a usable sound for that song. Since the Muff/Zone is my 10 (or "11") and the GK clean is my 1, the Maxon covers 2 through 9 beautifully. Honorable mention: The Boss Blues Driver is in my backup rig and has similar versatility, although not as luscious as the Maxon.
I have three different cabs, but the clear winner is the GK 212S. The top speaker is slanted with an open back, and the bottom is a closed back with front ports. I have no freakin' idea why this is not the standard for guitar cab design, but it is simply perfection.
I have too much other BS to list, but this is the meat and potatoes of my setup. It was awesome to peek into the musical lives of other posters in this thread! \m/