As some o' ya wee bastards asked for my kit outline, here you go.

As you'll likely notice, I like shallow shells. They don't ring as much and have more snap to them.

Yamaha 16x14 floor tom (Evans head, no head on bottom, mic inside drum)
Yamaha 14x12 floor tom (Evans heads)
Gretsch 13x10 tom (Remo heads)
Gretsch 12x9 tom (Remo Heads)
Gretsch 10x8 tom (Aquarian head, no head on bottom)
Pearl 8x8 tom (Aquarian head, no head on bottom, bottom hardware removed, mic inside drum)
Pearl 6x8 Tom (Aquarian head, no head on bottom, bottom hardware removed, mic inside drum)

All toms use Remo Dampener. All are miked with Nady DM70s, the floor toms get DM80s.

Ludwig 20x14 Kick (Uses an Evans damper and Dually pedal, which is a kick pedal that allows you to tweak the setting on the chain so that the two mallets can hit simaltaneously or at a spaced interval. AKG 112 is the mic of choice.)
Gretsch 22x18 Kick (Old fashioned damper, er, pillows and single Pearl pedal. Same mic)

Tama 3.25x12 brass Piccolo snare (Puresound 8 strand wire, Remo Heads)
Tama 5.5x14 wood snare (Puresound 20 strand wire, Remo Heads)
Tama Lars Ulrich snare (Puresound 24 strand, Evans heads)
Gretsch 5x14 snare (Puresound 20 strand, Goatskin heads, top one is hairy. Cool. Mic is inside the drum, shell has been bored and fit with a connection plate.)

All snares excepting the gretsch use remo dampener
Snares use Shure SM57 mics because I'm too lazy to look for a better sounding mic.

Zildjian 19" crash x 2 (One heavy, one medium)
Zildjian 14" thin crash
Sabian 16" thin crash
Zildjian Projection ride 20"
Zildjian splash 10" and 6"
Zildjian 15" high hats
Some P.O.S cowbell that was actually hanging from a cow at some point

Cymbal mics are Shure SM94. The splashes share mics with the snares. The thin crashes and the 19" inch crashes have one mic per pair. Cowbell is miked with some cheap mic, since I'll play it maybe once in the evening.
Don't even ask which aftermarket cymbal spring, fastener, claw mic holders, drum rug, etc I use, because I forgot long ago.

Mics run into two 20 channel mixers which go to their own P.A. Hooray for roadies and soundguys.

All shells are mounted to a 2 piece modular rack a welder buddy of mine made from 11 and 8 gauge rectangular steel tubing and various clamps and pipe for mounting the shells. None of the shells, including the kicks, touch the ground, which, in combination with the rubber coating and bedliner sprayed into the tubing, cuts down heavily on sympatic vibrations shell to shell, as well as kit to floor at gigs. The Piccolo and calfskin snare are attached to a shelf that swings down under the other snares so when I'm not using them, they're out of sight and not in the way. All cymbals except the Splash and ride are mounted to the frame as well, all in a stack and angle configuration so I don't have to switch cymbals all night long. Hi hat is mounted on your average, run of the mill pearl stand with a secondary pneumatic remote pedal. The Splashes are mounted on the rim of the main snares, and the Ride Sits on a generic stand and boom I bought for 30 bucks.

I plant my posterier on a Pork Pie throne. Its current upholstery is best described as "Duct tape and stickers". I've worn my groove in it, so buying a new one is out of the question.

Sticks are almost always Vic Firth 85A. I square the head with a belt sander, put four 3/8" strips of skateboard griptape on the handles, and I usually break a pair a gig. Good fun! I also have a couple pairs of polymer coated 3/8" aluminum sticks with black rubber tips with built in grips I bought about 15 years ago, and haven't seen a pair since. If you know what the hell they are, please tell me.

I suppose if I get bored enough I'll post my tuning and Dampener settings (not bloody likely).

I Also have a Roland Electronic V-session kit I use as an extension (Mainly for base pattern loops in conjunction with a boomerang, or hooking up to some effects when I want to get rid of visitors) for home use only, since I always assign the most heinous and innapropriate sounding patches to the triggers. Bought it used for 800 dollars from a pawn shop that didn't know what they had.

And don't think of asking why I have things setup the way I do (lack of bottom heads, different heads, missing hardware, etc.) Its the same reason bass players insist on specific strings, picks, cables, amps, basses, etc.

Bass Junk
I'm in the midst of getting my rig layout and links working. These little text boxes are a pain in the butt to write diagrams in.

Specs so far on my 6 string acoustic project:
Neck will be a bolt on 16 ply laminate made from Purpleheart and Ebony with a cocobola fretboard (am considering using wenge as well, just for extra color soundwise). The idea is to make the neck damn sturdy without the use of graphite, aluminum or steel reinforcemnt beyond the dual truss rods. I've finally settled on a 34 inch scale length, though I'm considering building a short scale (30 inch) and long scale (36 inch) neck as well.

The heel joining the neck to the body components will be a good sized chunk of padouk, since its pretty moisture resistant and won't give me any surprises after the neck pocket is cut. I thinking of contouring it so I can steam and shape the sides over it, but I'm not totally sure if that will work.

Back and sides will be indian rosewood, since its pretty much the only choice besides brazilian rosewood, and I don't feel like spending 300 bucks for a back and side set I'll likely f--- up on the first run.

Top will be maple with rosewood and ebony braces and purpleheart struts. This will make the bracing about twice as heavy as airplane grade spruce, but about 10 times stronger and much louder and toneful. Its not like the damn thing has to fly anyway. I'm also toying with the idea of a truss rod like system for the top, since I've noticed that climatic changes often cause undesired humps in the top which affect intonation on many acoutic basses. The treble side will feature a deep cutaway while the bass side will join at the 12th fret, and the body will be sort of offset. Think conklin meets fodera meets a chainsaw.

Bracing is a pretty unique design, utilizing the harmonic sweet spots to transfer string energy to less active portions of the top, increasing volume, sustain and blossom. Much like the Klein bracing system.

The bridge is actually going to be two seperate units to help compensate for the natural differences between the volumes of the low and high notes. Again, much like a Klein.
Electronics are going to be a multi component system, composed of 2 mics, 2 sounboard piezo's, individual string piezo's and a low resistance (like 4k) magnetic pickup.

Think I'll go fire up another pot of coffee and head back to the draft table.