RECORDING GEAR
Apple Mac Pro with two 2.8GHz Quad-Core Intel Zeon, 6GB RAM, 3 x 500GB hard drives, 400 GB drive
The Beast! I bought this computer used about 4 months ago and it has been a productivitiy godsend, allowing me to run Pro Tools, PhotoShop, InDesign, Safari, Chrome, Word and more all at the same time with nary a hiccup. Amazing.
Apple Macbook Pro 15" 2.33GHz, 3GB RAM, 500GB hard drive
I bought this with 2GB of RAM but upped it to 3GB when I "upgraded" to Leopard (the process was HELL). I also swapped out the drive, and the new 500GB drive rocks. Note: if you want a MacBook Pro, get the max RAM you can afford and be prepared to deal with only having a Firewire 800 (see below).
Digidesign MBox 2 Pro with Factory Bundle
Bought this used on Ebay because my original MBox could not play 88K files, which is what the recording studio I use prefers. It's a good box, but finicky about about Firewire, in that it only likes Firewire 400, period, full stop, punkt.
Pro Tools 8 LE
I waited to upgrade, but after hearing from my engineer that the software was decently stable I went for it. Glad I did. Easy on the eyes, rich functionality, bad-ass. Oh, and the included Eleven Free amp modeler sounds as good as Amplitube 2, just not as versatile.
SoftTube Vintage Amp Room
If you just want a great sounding, simple to use plug-in that models the greatest amps in history (Marshall, Fender, Vox), get this. No, it does't offer multiple speaker cabs and mics and pedals, but that's the point. Love this plug-in.
IK Multimedia Amplitube 2
After I boubnt Vintage Amp Room, I only turn this plug-in on by accident.
IK Multimedia Ampeg SVX
Sounds fine, but if you have Pro Tools 8, just use the built-in SansAmp PS-1 plug-in.
Tech21 SansAmp
I bought the original SansAmp way back in the 90s, after reading an ad in Guitar Player. What sold me? Eddie Van Halen's endorsement. And to this day, the tone of my SanAmp is a fine, fine thing. Am modeling plug-ins can do a lot more, and they sound more "authentic", but the SanAmp has its own tone, it truly is an amp, sans power section, speakers and tonnage.
Audiuo Technica AT4047/SV microphone
For vintage warmth plus modern detail, this is your best bet. Very, very reasonably priced.
Shure SM57 microphone
If you buy one mic, buy this one.
Tascam PE 150
A relic from the 70's, but a cool mic with a crisper tone than the Shure.
AKG 240 Headphones
You can spend more, you can spend less, but don't. Get these and be done with it. Clear, warm, rich and COMFORTABLE.
G-Tech 250 GB Mini
For toting around gobs of files, nothing else can touch these things. Great build quality, decent cooling, plenty fast. And cheap!
DROBO
For back-up, get this. Absolutely genius!
Audioengine 5 Speakers
I don't have studio monitors because I live in an apartment and I would get evicted if I were always playing back my mixes loud and proud. So I just use these small, powered bookshelf speakers, and you know what? They're fine.
AMPS AND CAB
Carr Mercury 10"
I have owned so many amps -- Marshalls, Fenders, Music Man, HiWatt -- it's a running joke among those few who know me from when I played in bands. After a multi-year quest, I finally settled on a Mesa Boogie MKIIb Simul Class with EQ. It ruled the roost for over 20 years, and then I read about Carr amps. The Boogie is great, but it's so loud, even set to 15 Watts, that it's almost unusable, unless there's a stadium or a studio involved. The Carr Mercury, however, is very low power -- 8 Watts, switchable down to 1/2 Watt -- and can get power section distortion at bedroom levels. And the tone. Wow, this is the best sounding amp I have ever heard. It's got some Marshall crunchiness with a dewy Fender brilliance and can produce every sound I my heart desires. It's also built exceedingly well.
Mesa Boogie MKIIb
My parents bought this for me way back in the early 80's and until I got my Carr it was the best amp I knew of. I recently had it cleaned up and slightly modded by Boogie and now it's even better. This is the amp I have played the most gigs with and that has been with me far longer than any other amp I have ever owned. Tonally, it's a Boogie, which means bright and clean or bright and distorted, and my one compaint has been it's lack of warmth, now mostly rectified thanks to Mike.
EarCandy 2X12
When I was at Boogie talking with Mike Bonicelli about modding my IIb, one thing I wanted was a thicker tone, as my Boogie tended to be a little wirey. He suggested I try one of Boogie's Thiel cabinets, and as luck would have it, one was in his office, so we plugged in. The angels sang. Returning home, I set to searching Ebay, but got wooed by constant mentions of other kinds of sealed, ported cabinets and the name that popped up with the greatest praise was EarCandy. So I contacted them, talked with Tim who runs the company and builds the cabs and settled on a 2X12 cabinet with EarCandy speakers. It LOVES both my Carr and my Boogie, adding richness, depth and power. Plus it looks seriously cool.
GUITARS (in order of acquisition)
Gibson Les Paul Standard (late '70s)
I know, I know, I was a spoiled kid. My folks helped me buy this and everyone who has said, "Wow, this is the best Les Paul I've ever played." The magic is the neck, which is a slimmer shape than Gibson's standard Les Pauls from the 70s (at least I think that's the deal, truthfully, I'm not sure). I swapped out the lead pick-up for a Duncan PAF, and added a coil-tap to give me the option of a slightly more single coil sound, but otherwise the guitar is as it was the day I first saw it at Gelb Music in Redwood City. To read more about this guitar and why I feel guilty and low about myself when thinking about it, click here.
Fender "The Strat" (1980, pictured with The Maton) Maton Supreme EG 240 (1960s) 
Fender Precision Bass (late '70s)
I know, I know... anyway, my P-bass is just a straight-up standard affair, ash body, maple neck, rosewood fingerboard (I wanted maple, but rosewood was cheaper) and a tobacco sunburst finish. Can I play bass? Not really, but for making my demos, my P-bass is indispensable. Plus, when I work with bass players, I can give them a better idea of what I want, having tried and failed to play it myself!
Ovation Custom Legend (late '70s)
Truth be told, I never really liked this guitar, and I have always wished I had a bought a nice Guild or even a Martin (they were kinda, sorta affordable back when I bought this in the late 70s. The Ovation's tone is LOUD and HARD, and the neck is cramped (too narrow). Today, this guitar is on permanent loan to a friend.
This guitar came out in 1980 as Fender's attempt to put things right. All through the 70s, Fender gear had gotten cheaper and cheaper feeling, and the company was much maligned as a stooge of then-owner CBS. Whether the harsh feelings were justified is hard to say, but there is no question in my mind of the superiority of pre-CBS Fender products, so when The Strat came out with its pre-CBS-style headstock, funky candle apple finish and gold plated brass hardware, I was intrigued. So intrigued, I ended up buying one, and to this day, it is the best electric guitar I have ever played. Long ago, I ditched the original pick-ups in favor of Bill Lawrence (I was going through a Joe Parry phase) but then ditched those for something more Strat-like, and then ditched those for the Barden Texs Specials currently capturing the string vibrations. If I had it to do all over again, I would have kep the Bill Lawrence. Fantastic pick-ups. Oh, one other mod. When I was living in Hollywood around 1986, I became obsessed with the fact that my Strat was not aging. Sure, the body had some chips, but I wanted my neck to be blackened in places like on Keith Richard's old Tele's. So I found a shop willing to strip the urethane finish and replace it with genuine lacquer. The result: aging finally started, but more important, the genuine lacquer let the wood resonate more and the guitar's tone unplugged is a thing of wonder.
Steinbeger (early '80s)
My college graduation gift. The best travel guitar ever, one of the best paying guitars I know of, and insanely comfortable to play standing or sitting. Sadly, the tone is, um, well, uh... not my thing, so I never plug it in.
Gibson Custom Shop 336 CS (2003)
When I turned forty, my folks bought this guitar for me at my request. The first one I ordered I sent back, but then this one arrived and I knew I had a "good one". I was originally going to ask for a Gretsch, but after reading about the Gibson and thinking about who my true guitar heroes were and how much I wanted an electric that would prject more than a solid-body when unplugged, the Gibson was a no-brainer. The 336 has a smaller body than the 335, so it's super comfortable, plus it has a neck-through construction (the body and neck are carved from a single piece of wood) for wrm tone and solid feel. My only nit: Gibson's qulity control is not the best. The guitar has intonation problems, the tuners are cheap and shitty and the finish is not without a few little flaws.
Line6 Variax 700 Hardtail (2203-4)
One of the reasons I stopped recording much was that I MUST have an acoustic strumming away on my demos, but acoustic guitars are too loud for apartments, where I dwell. Enter the Variax 700. It can model with reasonable quality a number of acoustics, yet is no louder than a solid body electric. Plus, there's no microphones to deal with! Oh, and it can also model everything from a Les Paul to a Tele. Since getting this thing, it has become my main guitar for making demos. Truly cool. If you decide spring for one of these, you... can't. Line6 no longer makes the 700 Hartail, only the 700 Tremolo. Plus, mine was made in Japan, whereas the new ones come our of Korea. I've not played the Korean ones, but the quality of my Variax is better than my Gibson 336 by a country mile.
Huntington Parlor Acoustic (2004-7ish)
Made for me by one of my very best friends. To read more, click here.
The Maton (All hail!) is the greatest guitar I have ever played and seems to be filled with songs. To read more about The Maton (Blessed are those in your presence!), read here.