Please keep in mind that no one here - or anywhere - can answer this question for you. Only you can choose which microphones you like - or dislike!
That said, I will suggest a plan of attack...
First, listen to each of the microphones through each of the preamplifiers - I would further suggest connecting the preamplifiers directly to your amplifier (or powered monitors if that's what you use.) Skip the DAW entirely for the first pass.
The goal here is to decide if you like any of the preamplifiers. Does one (or more) compliment the various microphones? Since you are considering an Apollo I'd also suggest getting one to add to the comparison, but if you are selling gear to fund the Apollo purchase I guess that won't work.
For this phase consider listening to only a couple of sources, your voice, a set of keys or a triangle, and some instrument you know really well. You are not listening for accuracy so much as you are listening for problems. Basically, we want to disqualify rather than qualify, if that makes sense.
My objective would be to keep only one of the preamplifiers, and of the bunch I'd keep the LA-610, but that's me, and that's based on the fact that it would compliment my other preamplifiers. So not terribly helpful!
I'd sell the compressor, the newer generation of dBx compressors are ok, but they are pale shadows compared to the originals, and you can get much better results from plugins. If it were an old 160 then I'd suggest keeping it - or selling it to me<G> - but in fact the UAD 160 plugin is brilliant.
The microphone selection will be much more difficult, even after you select a preamplifier. You need to understand that microphones will behave differently depending on a number of factors, in no particular order:
- the room you are in
- the room the microphone is in
- temperature and humidity
- the source you are recording
- where you place the microphone with respect to the source
- your monitoring system
- the style or genre you are recording
And most important of all, your level of experience!
But you need to soldier on, so once you've selected your favorite preamplifier you now want to go back and audition each microphone with a handful of sources. Don't be afraid to play with placement (microphone to source, source to room, etc.)
Some mostly useless (again, my perceptions only!) observations about the microphones you have at your disposal:
- Manley Reference gold - better than average on most voices, ok on instruments, but can be spectacular at times.
- Neumann U87 ai - can be great on vocals or voice-overs, never cared for it on instruments
- AKG C414 XLS - I have a first generation C414, never cared for the later versions because I think they sound too harsh. But when they work they are wonderful. One of my favorite vocal tracks was recording using my C414. Mostly I use a Blue Baby Bottle or a Neumann TLM-193.
- Neumann TLM 49 *Brand New* still have receipt - cool microphone, and probably one of the most forgiving I've ever used. However, it is very 'aware' of the room, and if the room doesn't sound great it won't either.
- Neuman TLM 102 *Brand New* - only tried one of these once, but was impressed, a more well behaved version of the TLM-103 to my ears.
- Shure SM7B - one of my favorite voice-over microphones, and also outstanding on vocals. But again I am accustomed to the original, and don't have a lot of experience with the B version.
- Blue Bluebird - I love Blue microphones, but I was disappointed with this model. I don't know why, but it did not live up to the name for me.
Based solely on my experience I'd probably keep the TLM-102, the C-414 and the SM7B and I'd use the proceeds from the sale of the others to get a TLM-193, a Shure KSM-32 or 44, and a modern ribbon microphone (AEA, Cloud, or Royer).
Once again - that's my experience, my tastes, my space, and the stuff - and stlye - I record. Hope this helps a little.