Couple of points.
The Burns models got mixed reviews - people had various problems with setup, tuning stability and variable quality of the switches and pots. The new BMGs are more consistent. These have BM signature pups, which are made very similar to the old Burns units (ferrite bar magnet with tape wound coil jammed on top). I'm told they're a bit hotter sounding than the old pups but it's hardly a big deal.
If you're used to Ibanez etc., this guitar is very different, firstly because of the 24" scale. It's very compact feeling (try before you buy!), and, couples with 9s, makes for a slick player - you feel like you're cheating! The neck is also nowhere near as huge as the Old Lady's. Getting to those top few frets can also be challenging if you're used to an aanj.
The guitar has a zero fret, so bending may elicit the sound of a string scraping across it - this is normal. Though, the example I played didn't exhibit this phenomenon.
The Super was limited to 100 pieces, now discontinued. It's pretty much the same as the Old Lady except for the all mahogany body, ebony fretboard, and Wilkinson roller bridge. I've heard that some of them had problems with the lacquer, which cracked and flaked off around the fret ends.
The Guilds: 1983 models only follow the shape of the guitar, pretty much everything else was different - thin neck, Kahler, DiMarzio pups unpotted and nothing like Tri-Sonics, not chambered. Only 316 examples were made before Brian called it quits. the 1990s Guild Pro models are more accurate - knife trem/roller bridge, Duncan Tri-Sonics.
Anyway, it's a pretty idiosyncratic guitar, which not everyone will like, so playing before forking out is highly recommended. I personally like the white and green models, though I'd put black plastics on the white one.