If I ever have the chance I want to get a good mixer for summing my mix to analogue before sending it back to the box again. Doesn't have to be SSL or anything, just a good sound.
 

Oh controllers too? Yeah.
1. Fatar 88 key keyboard
2. Alesis DM7x midi drum set
3. 4 x BCF2000
 
 
That's it.
 

I always fancied a hardware synth and an mpc but I'm restricted to space and money so such things would be a luxury right now.

All my $2-500 tack units from the 80's onward just look cool but collect dust nowadays.

Razorwit
Space, I'm still right there in hardware land with you. I have more mics than I can shake a (drum) stick at, 20 or so channels of various mic pres, 16 channels of SSL summing and various other stuff. I'll give up my Distressor, 1176's, and my SSL bus comp when you pry them from my cold, dark-magic-infused, undead-lich-hands. Not to mention all the guitar amps (8 or 9). And pedals (way too many...oh god, I need professional help). And weird other doo-dads (few things make me happier in a session these days than the words "triad-orbit").
 
Oh, and I've definitely made the leap into 500-series land. C'mon in, the waters fine...the only thing you'll be drowning in is sweet audio goodness...OK, and possibly debt. But also sweet audio goodness.
 
Dean

Razor 
I have my LA 610 which is amazing, but it has that Universal Audio sound.  I have thought about capturing other types of sound (Neve for example) or maybe a hybrid channel strip - with a british eq and a US mike pre and a distressor compressor...I just made that up, but you get the idea.  and with the lunch box sizes of these, there is no reason you could not have two separate flavored channel strips running.  

LA 610 MKII, RME Fireface UFX, Presonus FaderPort, Dual UAD-2 Quad cards (I consider these hardware, you may not), dbx 160A compressor, P-Solo preamp, Grace M101 preamp, dbx 266xs dual compressor/limiter/gate and my Alembic F2-B preamp.
 
Alesis e-drums with the Gen-16 cymbal system.
 
Mics: AEA R84 Ribbon Mic, 1980's AKG C414 B-ULS (Transformerless mod) & 1990's AKG SolidTube. And a few other stock Shure mics found in any studio.
 
The amps I have don't count because I never record from a real amp.

I only began using outboard hardware in the past couple of years. For me, it was really just about mixing things up a bit and experimenting and learning new ways of working. I still work 99% in the box though.

AT
I am really surprised there isn't more emphasis on hardware in these forums.  Of course, it is a software forum, but still, much of recording has do with actual recording of acoustical energy, and one would think it would be more discussed.

There is a school of thought that says everything worth doing can be done in software.  And if it can't today, it will be tomorrow.  If one subscribes to that school of thought, then one might make every effort to eliminate every piece of non-essential hardware.  Naturally each piece of hardware is a potential source of noise and distortion.
 
I know not everybody believes in this vision (yet.)
 
For the things I do, I don't want ANY hardware around other than the computer, speakers, MIDI keyboard, microphones, and maybe a control surface.  But we all may have very different needs and objectives.

I like hardware. 
 
In this video I tried showing how TH3 Emulation really is different than using the real mics.
https://youtu.be/L3GKLkHxGqI
 
The longer I play and record, the more I enjoy just playing without recording. And I also don't mind coloring the sound on the way in when I do record.
 
It's really fun to get a live sound that you would have been proud to get after an unlimited time with Sonar.
 
 

I was a huge guitar tone snob for a lot of years and went through a massive amount of guitar gear. I had rack with 3 CGXs all hand-wired (made my own cables from Lava cables) and was very much into capacitance of cables and tube types.
 
My favorite rig was running my 1964 Super Reverb in stereo with a Dr. Z Maz 18. I then put a true mid-80s Roland Jazz chorus in the middle with stereo, so I had stereo within stereo.
 
My favorite outboard was my Valvulator VHT (which I still use as a buffer, fantastic device!) into a Strobo stomp, old Boomerang wah, 1st generation Smallstone for phaser, Skreddy Top Fuel for overdrive, Tube Screamer 4 knob for alternative distortion, my Echoplex 3, a Line 6 Flanger (and believe me I owned them all) into an Eventide stereo chorus pedal to split off into stereo.
 
I loved the journey and had tone to die for!
 
Now I run through a Fractal Axe FX II. 
 
and I love it.
 
while  I cannot reproduce my sound 100%, I can get REALLY close, and the sound of the Axe recorded is better than the sound of the analog recording I was getting when using Mics. I can also get cranked amp sounds with low room volume. As a fan of crazy effects, I love the 100% recallability. I still have a lot of the analog but the only three I really use at times now are the Echoplex, The Smallstone, and the Top Fuel.
 
Perhaps it's because I'm running out of VSTs, or guitars to buy, or effects, etc. but I've started to get into hardware again. I bought a Midas Venice 32 mixing console to use for micing my drum kit on the front end and for analog summing on the back end. I just got a two channel Neve 1073 from Stam Audio (Stam 1073DPA). I plan to use for vocals as well as perhaps for on the back-end of the Midas when summing to analog. I have a Stam Audio SA-4000 on order - this is Stams' SSL G bus clone and I entend to use it on my master, after the summing (and after the 1073 if I use it). I also have a Stam 1176 and La2A on order. I have access to an incredible female singer and I want to give her the best front-end I can.
 
So for me, the hardware is a cycle like anything else in life, and there are seasons. I can be pro analog for a while, then love the convenience and flexibility of digital, and now I found I can enjoy a hybrid.
 
if it sounds good it is good... :)