C12A

Hardly the case in big studio recording. As a staff engineer of quite a few years at a major studio in LA, I’d say about ~75% of the time overhead mics are AKG C12s, C12a’s, 414s, etc… Oftentimes the mic choice is more about the sonic character of the cymbals/playing style of the player. If it’s pop, soul, soft rock, etc. then C12s are a great choice. If it’s metal, heavier rock, pop punk etc., then a ribbon like a Coles 4038 or AEA ribbons might be better since the drummer is likely bashing on bright cymbals. Just depends! You can compliment bright with bright, or try to balance it out if it’s problematic.

I own a C12 but I would consider that more of a “nice to have” than a “must have”

Vintage AKG C-12 -> Chandler Limited TG2 -> Mytek AD —> RME Fireface UCX ii -> Cubase Pro14

251 - > Avalon / Crane Song / or a console mic input if vintage or SSL. C800 - > Neve or TubeTech, Chandler C12 -> NPNG, TubeTech, Crane Song, Avalon Or a chandler / Neve to grit up the highs and accentuate them. On a budget get a nice transformer based condenser and upgrade the capsule and transistors. Something like a sterling audio ST77 drop in a Thiersch capsule pair with a warm audio WA12 or any other entry level preamp with decent components.