Wow you've got some really fantastic information! I agree 100% with your first post and couldn't have said it better myself, but I don't think a lightmeter is a necessity in this line of work, and especially not at the entry level.
I don't use one at all anymore and neither do any of the commercial or architecture photographers I personally know, but I won't deny they have value to folks that understand how to effectively use them.
When I read Hensel, Kinoflo, Dedolights, I see $$$$, $$$$, $$$$. I go inexpensive for basic real estate, such as Yongnuo speedlights. They get the job done just fine, but won't last forever. There was a time when you had to spend a large sum for every component in your kit to get good results, but that's not necessarily the case anymore.
The meter takes out all the guess work. It's a bit paradoxical really, kinda like modeling lights: when you've become experienced enough so as to see all the nuances of light at a glance, you need it less; but when you're starting and have little clue or are not accustomed to reading tonal values, you need a tool that will give you accuracy. Same thing with lights: when you're starting, modeling lights are invaluable to position your strobes and modifiers precisely and work faster: by the time you're an expert at seeing light you can work efficiently even with flashguns, which have no modeling light, because you already know what you're gonna get.
Chimping, firing endless shots and flashes, chimping again, reading 'the histogram', flashing again, ad nauseam is not an effective or time-efficient way to work. Plus, when using strobes it's not just easier but more accurate and efficient to aim for a particular aperture and then dial in the power values on the lights that will give you that aperture. The LCD camera or 'the histogram' are unreliable for this, especially when you're working with ratios and more than one flash, and/or balancing ambient with strobe light.
Regarding the equipment, yes, I recommend only what I myself would buy. I am very inimical to cheap Chinese stuff because: it breaks easily; it's very low quality; it does not give you a consistent light output in terms of WB (actually, any flashguns will be inconsistent in quality of light as their light changes colour noticeably when you vary their power), which is crucial for product and commercial applications; and warranty, customer service and support are parsecs away from what you get from a reputable manufacturer (especially if you're already in Europe, Hensel is just pretty much right down your alley). A Shen Hao camera would be about the only Chinese photographic gear I'd buy.
As I said above, there's no need to rush out and buy everything in one fell swoop. There's just the need to plan and buy smartly and purchase the BEST quality you can afford, even if you have to do it piecemeal, which is how I've done it myself.
Yes, for a hobbyist and small time, $100 run n' gun shoots, I would think the purchase of professional grade equipment a bit questionable. But for a full-fledged (if nascent at this time) photographic practice focused on luxury properties and commercial applications, you buy what the pros buy, and since it's for business you write it up as business expense and recover it with the income from your shoots.