HI,      I recently purchased from someone who was closing a studio, some really great mics and & preamps. I only made this purchase because it was an unbelievable deal that i couldnt just walk away from. 
 
But im actually pretty inexperienced when it comes to mics and preamps. im not entirely sure how to use an external preamp, and have only owned a few good mics (shure ksm44 * neuman tlm103) in my life, and i never really used them to true capacity. Ive only ever used audio interfaces like mbox mini, mbox 3 etc. i did once own a fireface 800, but never felt comfortable with my familiarity with it.
 
also compunding the situation is i have a bit of a learning disorder, so having the focus and ability to process technical information can sometime be a difficult challenge for me.
 
my Question?: im a bit in over my head. i got all this equipment for an unbelievable deal, because i knew by reputation the equipment listed below, but im not sure what mic or preamp or combo i should keep
 
I would like to sell some of it in order to make some of my money back, but dont know which way to go. i would like to make this decision based on addressing my recording needs first, finances second. 
 
what do you think i should keep and what do you think i should sell. I'm also considering purchasing a higher end audio interface like an UAD apollo 8p since i conceptually finally understand the importance of having good ad da conversion and high quality preamps, plus having the plugins could theoretically free me to sell some preamps. i primarily use Reason, but looking to learn protools and ableton Live better.
 
im a singer songwriter, who uses mainly reason, and would like to use a live guitarist in the near future. i have a baritone like voice, a little husky. i had a tlm103, but it was harsh on my voice. i once heard my voice on a u87 going thru a neve console, and never heard myself sound so good in my life. it actually convinced me i could make a go of this thing, plus definitely need to get into higher end equipment, either in purchasing or renting studio time.
 
a little more about me? ive been writing songs and singing for 20 years, but only just now getting into trying to get out there and do something with my talent. i do a style of music thats similar to alt pop/urban/folk. i call it urban folk. im certainly not a newb (i understand lots of technology, conceptually, but not experientially. but im certainly a novice when it comes to advanced music technology. i also never quite got my brain to process how compressors work, though i have been successful with them few times. i own a small home studio setup that sits in my living room, my only sound reinforcement is an se reflexion filter. i could theoretically treat a room, but i may be moving from here, and would have to hold off on that.
 
ok, so i think thats everything...sorry about the book. your advice and invaluable knowledge is much appreciated. also, considering the little but ive told you about me, what career trajectory would you suggest i follow, keeping the equipment you suggest I keep and sell in mind.
 
God bless & thank you all in advance, and good luck with your careers, whatever they may be, & where ever they lead you.
 
Preamps - 
Manley TNT
Uad La-610 mkii
focusrite Isa one
 
compressor - 
dbx 166xs
 
Mics - 
Manley Reference gold
Neumann U87 ai
AKG C414 XLS 
Neumann TLM 49 *Brand New* still have receipt
Neuman TLM 102 *Brand New*
Shure SM7B
Blue Bluebird
 
and this is embarrassing,,,but my current interface in an MBOX mini (could use some advice on interface with this setup and macbook pro w/thunderbolt. my main interest in the apollo 8p is perhaps the plugins are good enough to fee me to sell a few of the hardware pre amps. but I'm open to all suggestions.

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.

That is a beastly set of microphones. The Neumann U87 AI is seen as the granddaddy of all microphones. Manley Reference Gold is also up there as one of my favourite microphones. Both are on my list of "to buys" for my personal studio but I've got a lot of other things budgeted before them at the moment so it will be a while.