2006 and 2007 Jazz Elites. Modifications: inlay-free fingerboard, narrow-spaced nut on a wide fingerboard, five-position blade style pickup selector switch removed, three-position toggle switch installed, no bridge-pickup tone control, volume potentiometers increased to 1-meg, on the 2006 the body cavity, including under pickups, is coated with copper paint, Graph Tech string-saver saddles, Madagascar ebony tuner buttons. On the 2007, which I use for recording, the pickups are Lace Alumitones. On the 2006, which I use for most live gigs, the pickups are Creamery Wide-Range Baby 71s.
Karura Sentinel carbon-fiber cases for the flattops and classicals. Calton deluxe fiberglas case for the Thornton electrics.
Egnater Rebel 20 for recordings and some local gigs. For road gigs promoters receive a list of 75 amplifiers ranked in order of desirability. Usually they find something that is not on the list. For local acoustic gigs where no PA is available, I use a Fishman Performer Pro with a Shure SM81 microphone.
DAddario EPN22 (.013-.056) for the Thornton electrics, DAddario EJ17 (.013-.056) for steel-string flattops, DAddario EJ45 Pro Arte normal tension (.028-.043, G string replaced with an EJ46 hard-tension G, .041) for the Ruck classicals, Addario extra hard tension EJ44 (.029-.045) for 1987 Contreras classical fretless.
Seymour Duncan SFX-11 Twin Tube Blue, Seymour Duncan SFX-04 Twin Tube Mayhem, Morley Mini Volume pedal, TC Elctronic PolyTune 2 or Boss TU-2 tuner. In the studio I use an American Loopers Clickless 2-Channel loop so that the Duncan pedals can be triggered without acoustic pedal noise. For gigs where I have to travel light and for some rehearsals I replace the heavy Seymour Duncan tube pedals with a mini-pedalboard loaded with three TC Elctronic distortion pedals: a MojoMojo, a Dark Matter, and a Röttweiler.