I wrote the rest then added this next paragraph to the beginning. May as well answer the question?
The Grace Designs is the most likely to be found in a major label studio, of the choices you offer. Does that mean much? Well, it's been out the longest.....? And, BTW, that "ART" thing? Ahhhhh? Hide that in the closet when you're telling your clients about your "major label sound", ey? May be "fine", but, hide it. Let's move on.
"500 each" sounds like such ALOT of money, doesn't it?!?! It's one of those "break points"... $1000, is another... Alot of money...... It is, among other things, the "break points" that seem to seperate those of us who "fool around", from those of who try to "make a living" to those of us who make enough that they no longer worry about "break points", as equipment cost is such a small part of their budget/life... Unfortunately we ALL want to "sound big time"(Like "major label") without spending the coins - mainly when we don't have it... Sooner or later... if we really DO want to be "big time" we've just got to...... start.
I suggest getting that start - here - now - with your mic pre's(As good a place as any, better than most.). Consider getting even "just one" mic pre of superb/unquestioned quality -- the kind of pre you just don't have to ask anyone "which of these 3???".
When you get to something like these(Just an example):
http://www.mercenary.com/johharmicpre.htmlyou are "there". Of course there are others - The Millenia Media solid state pre's are some I can personally recommend, for instance - I've used them with everything from Senn 421's to the most expensive Neuman's made today and yesterday - this "grade" of pre just doesn't get in the way(Doesn't make the 421 sound any better, but, that's what we're looking for, ey?). There may be better pre's, at times, for special occasions, but, that's another topic. Any major label would be proud to offer these in their studios, for use on any project, for any client(And do!).
Now, today, 2006, your "break point" is $1000 to $1500 per channel -- but, it is THIS break point(Let's call it $1,500 and be "safe".), at or above which there is almost nothing left TO argue about(Cherry wood or Walnut finish???) - and that's a great "point"! At this level you no longer have to worry about your gear! Now you can begin to seriously worry about what you're recording. Yes, a very good point.
Another nice thing. Once you get above the "final break point" there are less questions -- there just plain aren't as many to choose from! Also nice... easier on the head.
Still, to "break" from pre's, for just a moment, I'd rather START with this "list", in this order:
The "Room" - the recording space. The recording and mixing space(s) will, pretty much, determine "the sound". Without starting here not only may you never get "the sound", you are quite likely to never be able to hear what you ARE getting, no matter the gear. Start with the room - put ALL your money/effort/study/questions into it - then ANY gear you put in it will give you it's best - you'll KNOW "it's sound" - and THE BEST gear will have an opportunity to get you that "major label sound" - once you learn how to use it! It will be so much easier to learn when you are not hopelesly constricted by a poor environment.
Next on the list - Software(Possibly sad, but, it is 2006.): The software you're going to use determines everything! From which computer to which "everything" to follow.
Interface/soundcard: Having the largest/most colorful/most frequent ads in the magazines should not be the "determining factor". We all see the big companies(Often the conglomerates who just bought everything they could and now are just trying to make their investments pay-off at any cost, usually "our" cost...) who dominate the magazines, don't we? We all have "stuff" from them, some of it good... However, it would serve you well to "dig in", look around, see what's REALLY being used by those "major label" types... You've got to know and go after whatever "it" is. Happily, one need not go far above the "break point", for now, as all of that stuff "up there" is "hand made" just for those who have no idea what else to spend their money on - even they can't really hear the diference, but they don't care... And that's a good thing, too.
The "pre's" for mic/instrument. Considering that computers and software and sound cards darned well better not have "a sound", the pre's should be the first point to "listen for". Yes, pre's can have "a sound", but this is for later. First up, we want pre's that add or subtract as little as possible - the basic, "perfect" tool(Used to be called "straight wire audio", which meant you couldn't tell if it was in or out, it just raised or lowered the volume, if anything.), which we can build around. Unquestioned quality, handles any mic very well indeed, with as few "variables" as possible(Yes, I realize this, pretty much, leaves out ANY "tube" gear. Holler if you must, but we ALL know this - tube gear, today, is
AN ASIDE---With rare, all-high-priced, exceptions! My favorite mic in the world is a tube mic, but "the tube" is only part of it's wonderful design and construction AND it is priced at DOUBLE the "break point" dicussed here and I DON'T NEED IT to do "major label work"(Good idea to dump this "major label sound" crap, as much major label stuff sucks. Let's call it "pro gear") I'D WANT IT! But, that's another topic---indeed a "specialty item" with "a sound" - may be great! But... cannot be part of our initial "standards", not today.). Your "rocks" your "standards" will never need upgraded to anything "better". They will allow you to compare/contrast any other piece of gear - even(Especially!) if the other piece of gear is some "exotic" piece - even another pre - with "a sound" -- how you gonna' know if you have no "base"?
Speakers or mics next??? Probably speakers. Yeah, speakers(Gotta be one or the other, I choose speakers! Da##it!). Speakers are "arguable" points, themselves. Speakers all have "a sound". There are no "flat" speakers, no speakers that don't add or subtract something. Best thing(Maybe the only thing?) we can do is to get past that "break point", LEARN THEM and forget them. Strangely(?), get above our first breakpoint of, say $1,500 per channel(A PIECE) and we're probably good to go. Comparing 1500 PER PAIR speakers(Or below) is like comparing $500 or $50 pre's - hopeless. Some good parts, some bad parts, none with all good parts, none reach the "break point" of unquestioned quality where "a sound" or "features" or the veneer on the cabinets, determine their "differences", none of which are important in getting a "good - pro - recording".
MIcs. Well, now that "we're here"(Bathrooms around to the left), we no longer have to worry about mics. Sometimes you'll want to use a capsule from a 1950's telephone handset that you found at a yardsale for a quarter, sometimes a KHE Brauner, which you picked up for 10 grand(Probably MORE, now that they are no longer being produced.). But, NOW, it will always be, simply, "the sound", no head scratching wondering if it "really sounds that way, or it's just my system", never "the gear" or at least never a question of "which one of these things is the right one for me to get that major label sound"? IT'LL ALL DO THAT!!!!!! If you have it in you.
TG