There’s a lot of truth to this. I have an overall preference for Schoeps tapes and the Schoeps “house sound” - I’m on Team Schoeps today myself, currently running a pair of 2s, a pair of 21s, and a pair of 4s - but they are mostly my general preference, and not necessarily the superior microphone.

I’ve heard many tapes that I love from BK/DPA (FTTS3 was a 4011 tape), Neumann, Gefell, AKG, Audio Technica (I used to run 4031s in NOS when I started taping) - the list goes on. Every taper in the section that I’ve encountered has always been about the common goal of capturing the magic happening on stage, and letting the end product speak rather than smack talk.

I think the most important aspect to any tape is location. I will take a pair of iPhones duct taped to a configuration in the right spot over a pair of vintage $10k microphones from the back corner of a room.

I find the Schoeps have a higher probability of pulling a recording I enjoy from a non-ideal spot - their ceiling is lower to my ear, if that makes sense. They are not inherently better, I’m just less likely to botch the recording, for which I only get one shot to get right in the section. And I’m not infallible - I’ve still screwed up recordings whether it’s wrong layout, bad gain staging (both too quiet and too loud). But once I understand my signal chain and a location in the venue, the rest tends to fall into place.

Lastly, I’m not sure I’d call the AKG SDCs warm. The LDCs sure, but I also find their LDC to do weird things to the upper mids and treble. Different strokes for different folks and all that, though - if there’s only an AKG tape or the AKG was in the right spot, I’ll reach for it.