Which is, of course, why everyone and his brother has jumped into the 500 format business. Used to be there was just API and Aphex, and that was it. John Hardy was modular, but not 500 form. Now, I've lost count of the number of different manufacturers and models out there, with no end in sight. I've got five of them, bought pretty early on, but haven't seen the need to buy more. In addition, IMHO, the audible difference between many of them is negligible, despite advertising claims. That said, if you have AC power access and the space, it is nice to have a full lunchbox of good pres to use for your front end if you are rolling open. I do find the Femto, Church Audio and Little Box/Tiny Box gear very attractive because they are small and self contained. Even less to schlep around and cart to a gig. While there may be different design priorities at work with them, there seems to be no material down side if you take those into account when matching gear to the venue and artist. Certainly the "studio" market is a bigger pond that the location recording/tapir market, but it is a lot more crowded too. I'm glad you and Chris can make this niche market work for you.
Mics: akg c460 (ck61, ck63), c414buls, c568eb; at4049a, 4051a, 4053a, at853; josephson c42; neumann U87, km84i; beyer m130, m160, m500; aea r84; gefell m71, mt711s, m200, m201; sony c38; schoeps cmc6, CMBI (mk4, mk21, mk41, mk4v); sennheiser mkh40, md421, md431, md541
Pres: API, a-designs, pendulum, purple, millennia, gt, littlebox, tinybox, usbpre2, CA 9200, pipsqueak, pueblo pending
Cables: KCY, CMR, Naiant AKG actives, PFAs, asst. GAKables and Darktrain
Recorders/converters: dr680, m10, dr-2d, d50, dr70d, zoom f8, lynx aurora 8
Yeah, I'm an attorney, but everyone needs a day job!