Nice going -- great suggestions for sure!
Dave, what about your back-up recorder and mic splits (if you are doing live shows). None of this is very slutty but it's the very essence of what we do as remotsters.
Spend wisely - you don't want to go to cheap and end up having to spend all over again.
+1. Spend twice as much time on research as you would normally and then mull things over for twice as long as you spent researching and the chances are you won't buy the wrong stuff.
Mics last ages - so get the right ones - a 30+ year life is not unusual if you get the rights ones.
+1 again. Don't go cheap on mics either, good halls and acoustic instruments tend to show up crappy mics. This doesn't mean you have to splurge on DPA or Schoeps but consider AKG and Neumann as good starting points. Your first pair can later become your spot mics as your business grows and your kit improves.
And remember mics are more important than pres and when it comes to pres utility is more important than bling or colour. HPFs, phase flips and variable Zs per channel can be super useful when you are under pressure.
Also how's your score reading? Most of us can follow to some degree but what about the day you have to make single note edits on a Mendelssohn fugue recorded in a muddy acoustic.
I've now moved off the caffeine and onto the Hoegaarden Grand Cru (consequently my own score reading is going down the toilet, but I'm still ploughing through the edits!).
Again none of this is supposed to sound off-putting, on the contrary location recording is FUN but if anything doing it really well is harder than regular studio work. Still at least we don't have to pay the rent every month...