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ROAD GEAR
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In my touring six string (currently a Breedlove German/Brazilian Ed Gerhard Custom Signature Model) I'm using a Fishman Matrix pickup along with a Joe Mills condenser mic inside the guitar. I feel that this is an unbeatable combination both in terms of sound and ease of use. My twelve string (a Breedlove EG25/E custom) uses the same setup. These get plugged into a Raven Labs PMB 1, and I also use the Raven Labs True Blue EQ. Lately I've been trying out Fishman's Aura processor, which is very cool. I've had some really remarkable results with it, and my last tour of Europe I used it exclusively.
I'm also traveling with a Hawaiian acoustic lap steel (Weissenborn copy). The Hawaiian gets a Fishman Rare Earth Humbucker pickup and I plug into a Fishman Pro Platinum EQ, a really great sounding DI. It's got useable EQ and it runs on phantom power (why doesn't everything run on phantom power? It's the 21st century, come on!!!). Sometimes I'll plug into an Aguilar DB 900 tube direct box. The Aguilar is very smooth and clean, really wonderful.
I usually bring a small Mackie mixer with me so that if there's a bad reverb unit in the house rack I can premix everything and add a little reverb before it goes to the house console. I've found that in the majority of venues, even the really good ones, the weakest part of the signal chain is still the reverb. I don't use effects but I do rely on a nice sounding 'verb, especially with the Weissenborn. I am still using an old Lexicon LXP-1. There are two or three settings on the LXP that, with a little tweaking and EQ, give me what I need in a live reverb. I'll premix everything, add some reverb and send a stereo feed to the house (the newer versions of the Mackie 1202 have a line/mic level switch on the XLR outs- nice touch!). If I don't feel like setting up my own mixer onstage I'll ask the sound tech to hook up the LXP to the house console if the house verb is unacceptable.
I've found that good cables make a big difference, and I've been using Planet Waves guitar cables for a few years now. If I'm using the Matrix/Mills/Raven Labs combo I use a custom Canare cable with Neutrik connectors. If I'm using the Mackie to premix I'll connect the DI boxes with Planet Waves mic cables.
All the Planet Waves cables are very durable and sound nice and clear.
Strings are always D'Addario. The six string gets a light gauge phosphor bronze set, and I swap out the top two strings for a medium E and B (.013 and .017). The Weissenborn gets a straight medium set of the PB's. I usually change strings every show, though I can sometimes get two or three shows out of a set. Sometimes I change them between sets if I've killed them.
I've been using Shubb capos for a long time and love 'em. I have also been using the new G7th capo and it's very cool.
For slides, I really like big, heavy glass or metal ones, but with the Breedlove set up very low, I need a lighter slide. I have been using a Dunlop glass (maybe plexiglass) slide, the largest one they make. It's very lightweight, but sounds good and sustains well. In the studio I'll opt for something heavier as a rule. On the Weissenborn I use a Shubb/Pearse SP2. I usually start each tour with a brand new one, as they can get a little scratchy after awhile.
I've found that keeping fresh strings on the Weissenborn, especially treble strings, help the bars last longer, as a rusty string will scratch them up.
Any guitars I bring on the road travel in Calton cases. They can be a little unweildy and heavy (the case my signature model travels in is called "Big Red, the Widowmaker") but they're the best. I check the guitars with the luggage and can move unencumbered through the airport.
