Disclaimer: I'm not a hobbyist. I use the gear in connection with making a living.
I love you all, and totally grok what you're saying about all the excellent hard work you've done. It's praiseworthy, for the most part!
BUT...
We don't all have the same needs, we don't all have the same goals, and there's no cookie-cutter model called, "I worked hard for X years to get all this sh!t, boy, it's my reward for a life well-lived!"
Sometimes you need the gear not because you got where you got, but to get where you're going!
I can only use myself as an example, but in talking to others in my line of work, I'm not alone. I invested heavily in a recording studio and associated gear that was a necessary precondition to even climb into the biz, in the days before computer music and plugins, when pro level analog gear was
very expensive, and that's what you needed to do the work. Multitrack, mastering deck, larger format console, lots of outboard, machine synchronizers and U-Matic video decks were the bare bones basics!
I bought my guitars - all my gear, really - for projects I was well paid to do. That's how it's been for my 32 years in the music biz.
I learned over the years that it pays to invest in one's profession. It's no different than when I opened a law office as a young guy (before getting into music when I was still pretty young) and bought law libraries, Xerox machines, rented office space, and hired personnel. None of it was free.
And the gear has covered its cost many times over. I have PS and Core guitars, and lots of recording gear. It's all part of the investment I've made in my business.
There's a reason for having the guitars besides 'I like cool guitars' (though fact is, I also like cool guitars, but that's a side benefit
).
You're not going to walk into a major label or ad session with an entry-level guitar and a cheap modeling amp, and make anyone happy. Just the way it is (BTW, an SE isn't an entry level guitar).
And sometimes age has little to do with it. My son was playing on some of my ad music tracks at 14, professionally. I got him good gear to use on those sessions, too, including a Core PRS. He deserved it. Last week he played a concert at Wrigley Field. He still deserves it! Except for the part about playing Fenders, but, OK, his creative choice.
I could have loaned him something. But I felt he needed gear set up for him, so he could get the feel he wanted and the tone he wanted.
Symphony players take out mortgages on the instruments they buy - ones that cost as much as a decent house! That's
right for them. They not only have to play well and sound good, they have to sound great, and are judged on the quality of their tone. Like session players. Just part of the game.
Hobbyists can rightfully brag, "I paid cash for my gear." I'm down with it, that's great!
Professionals don't have to justify it that way, any more than GM does when they go to the bank and investors to finance a factory, associated machines and tooling.