Michael,
Please excuse my curiosity regarding your ultimate choices. I have done a fair bit of studio work in the not so distant past, so I know what my preferences could boil down to, which would likely be JBL and Urei. However, your thread and the nature of the numerous informed responses to it leave me at a loss as to why you would choose any system that you have not even heard.

Aside from the significant issue mentioned regarding parts availability, which can only become worse year by year, I am not convinced that the 4350/4355 types, as awesome as the truly are, would be the best monitors for the actual processes of tracking and mixing. If you will be producing content for use in your clubs, I can see it. But if the music you produce will be distributed to customers and played on their own wide-ranging choice of reproducers, I think there would be a critical disconnect since few of those end users would have loudspeakers with close to the sound qualities of the big, (BIG) JBL's.

Consider the choice of monitors by the late, great engineer and Imagineer Drew Daniels, whose studio was Sound Path Labs http://www.drewdaniels.com/ No large-format monitors, but rather JBL 250 Ti's and a number of much less vintage, smaller LSR's.

I know Drew would never produce records of less than the absolutely finest quality attainable. Obviously, his choice of monitors was KEY.

Considering your ample resources, the best solution IMHO would be having the incredible modern TOTL JBL's and/or UREI's for serious work, and some 4350/4355 for your personal listening pleasure and WOW factor.

In any case I know you will wind up with extraordinary speakers. That said, please bear in mind the importance of practical issues in the use of monitors for the creation of musical recordings of excellent and even better quality.

Regards abd best of luck, D.E., FSP/ML (Former Studio Person / Music Lover)