Strat: .012 .016 .017p .032 .042 .052w
“Pyramid Pure Nickel Round Wound Standard Jazz Electric Guitar 12-52”, with the .024w replaced by a .017p.

Les Paul: .010 .013 .015p .026w .032 .038w
“Pyramid Pure Nickel ‘Jimi Hendrix Inspired’ Set 10-38, Full Set”

The quotation marks enclose the description of those two sets from the website I order from: Strings By Mail.
The Pyramid description or labeling is probably a little different, but if you follow the quoted terms, thats the one’s. . .

The Les Paul recently has .016p for a G string, which feels a little better balanced with the D than the stock .015p.
I tried dropping the D down to .024w to work better with the .015, and I think that might be even better, but it’s right on the cusp of unplayably light for me onstage.

The action on both those guitars is at least a little higher than it needs to be if “needs to be” means being able to bend a string at least a minor third.
So the action doesn’t impede any bending, and then there’s just a little squeeze up from there looking for anything interesting to happen.
If something interesting does happen when I raise it, I’ll keep going, but only in the tiniest increments, literally just squeeze the thumbwheel or wrench.
I get the work in the right light and look for reflections, the adjustments are impossibly small.
If I move anything related to height adjustment enough to show up on a tuner, I figure I’m starting over.

The trick with action height for me is it has very little to do with the fretting hand, it’s all about a dynamically playable balance of noise-like to musical timbres with the pick and fingers.
There’s always a spot below which I’m just crushing everything so completely the guitar sounds one-dimensional, and a spot just the tiniest bit above where everything sounds open.
Anyway, it’s a pain in the ass because it’s not about string height for the left hand, it’s about attack with the right hand.