I'd say that it's hard to hear a difference between pre-amps unless you're making it a huge one and it matters a lot of your specific application.
For instance, if you're going to record rock or pop music, the noise floor is gonna be pretty high anyway with all of the amps and distortion, compared to let's say a classical stereo recording of an orchestra.
So for most regular studio applications, today's neutral pres on most interfaces VS Neve or API really don't make that much of a difference all things considered. I just recently checked a lot of interfaces specs and most indicate between -128 and -135dbu, which will contribute between 1 to 3dB of noise, even the most basic interfaces currently on the market form any known brand. That is otherworldly better than what the typical noise floor of studio gear used to be, and today, because we use plugins to color things up, we care less and less about the impact of analog transformers in coloring the sound anyway. We want something flat and neutral to color it after the fact, so the value and Neve, Chandler, API, SSL etc is - at least for my generation of engineers - matter much less than before.
However, it also depends greatly on the type or recording you're doing. If, as I mentioned, you're recording a symphonic orchestra with an XY pair of exceptional microphones, in a room with perfect acoustic and isolation, then that noise floor on your pre-amps will suddenly matters *much more*. At this level of recording, the difference between your run-of-the-mill D-pre/midas/HDAA pre-amp and let's say Sound Device, Metric Halo, SQN or Sonorax is much bigger.
Pre-amps for field recordists especially are just on a whole other level. If you want the most surgical precision for broadcast or the highest-fidelity then sure, but you need a super-quiet room, a superb pair of microphones, stellar A/D conversion and the skill to set it all up to get the most out of it. That's more like a craft, and music production is more like an art where we experiment along with noise and distortion quite a lot.
So honestly to introduce noise in your recording that someone other than a mastering engineer could hear, at -128dBu or less... you'd have to record something very quiet with a very dull mic.
So most of us will not perceive much difference between today's pre-amps. I suspect the circuitry is pretty much the same across brands anyway.