If you ask me to choose current vs. vintage, I choose neither. I'm somewhere in the middle. For me, each production era has its own things going on.
Anything before August 1985 is unobtainium but a must-have for any die-hard PRS fan. What they 'are' will far outweigh every other factor (including how the sound/play).
1987 has the mojo of the 85-86 without the price tag. I also prefer the tone of the revised T-pickup. '88 was a great year but thin necks (which should be illegal) were making an appearance.
1989 was a banner year for wood (and still had the Brazilian Rosewood fretboards). The very best from this era, in my opinion, are the semi-hollow Limited Editions with TOM bridges and Vintage Bass LE pickups (in both positions). Maple-cap LE's get the collector's nod but the cedar and redwood topped versions are super cool.
Sweet Switches and Brazilian fretboards started to phase out in 1990 so that's the tail end of what I consider the 'vintage' PRS era. If I had a few extra million and a giant warehouse, I'd buy-up all the 90's PRS guitars (they are selling for peanuts) and sit on them for 20 years. I'd resell them when exotic wood finally dried up. That day is closer than you think.
1996 - 1999 saw the introduction of some my favourite guitars (Rosewood Limited, Artist 3, Hollowbody, Archtop, and Brazilian Rosewood McCarty).
2004... the Modern Eagle (and thinner nitro finishes)! Meanwhile, my 2004 Hollowbody (with the thick, glassy, production finish) is getting cloudier by the day. I suspect it will have to be refinished at some point.
In my opinion, 2007 to 2010 is the Golden Era of PRS. By December of 2007, PRS was in a giant new facility and fighting for survival (this was the beginning of the Great Recession). This brought forth an explosion of creativity and innovation. The DGT, the Mira, the Starla (and Starla pickups), the SC-J Thinline, the 1980 West Street Limited, the Korina McCarty (with BRW fretboard), the Singlecut Modern Eagle, the 305, PS Golden Eagles, the DC22, the Chesapeake Severn, the Chesapeake Choptank, the Paul's 28, the Violin McCarty, narrowfields, 57/08's, 59/09's, 53/10's, acoustics, The PRS Experience, Doug Sewell's amplifiers, and the crown-jewel of PRS service... the PTC.
2011 - 2013 were great years for tone. Narrow 408's are critical for 'my' sound. My Wood Library Paul's Guitar with Rosewood neck is my best player but the fit and finish of my production Paul's Guitar left me wanting. The gap between the back-plate and the body is notable. That's a pretty miner nit, for sure, but it surprised me. A wide gap sure is better than my 80's guitars where the plate is so tight the I usually need to (carefully) pry it out.
And the Silver Sky? It's no secret that I love PRS guitars but I'm also a huge fan of John Mayer. I had to get one. It sounds fantastic. To such a degree that I sold my US Strat with some cool mods. But I was disappointed PRS didn't push the S-type design forward and make it their own thing. I understand why they did it. If I were Paul, I'd make any guitar JM asked me to make. But I (a fanboy in his easy-chair and this keyboard) have the luxury of being uppity. I'm not the guy responsible for the survival of a multi-million dollar corporation that employs hundreds of people; most of whom have a family to feed.
I eagerly await the future and the pending release of the Paul's double-neck. It will be my last PRS. No, really.