Definitely off the OP (sorry) but an old philosophy about mics I try to adhere to has remained pretty much the same for a very long time. Make sure I have the mics on hand I'd require to run a typical session and get to know them really, really well. I personally don't have the need for 18 choices of kick drum mics or "The famous mic that captured Dean Martin puking in the corner during a Sinatra session at Capitol" mic or its clone. Though I bet it sounds cherry.
I have LDCs for the jobs I need them for. 4 good quality but not super expensive LDCs with different characters for addressing different vocalists, instruments, etc. One good tube LDC and one good ribbon. I have enough mics for drums to do a standard kit along with two pairs of SDCs for overheads or stereo miking of acoustic instruments. And two 421s and four 57s, some of which miked amps on the road for years and still do the job. It's taken me decades to build up the mics I have.
The whole locker is probably worth around a pair of u87s.
The collecting of gear for the sake of having a locker crammed with 60 year old microphones of every flavor and color has also never been in the budget. It is a selling point for major commercial studios who can boast that sort of inventory to correspond with their history but I don't own one and have only occasionally worked in one. 🙂 As a working musician/studio owner the budget rarely calls for boutique purchases, especially when what I have can do the job.
There are a million videos of studio tours and they'll get to the mic locker and pull out all these mics that they never use but they have because they're old or worse, rare! I once saw a picture of the inside of Joe Perry's guitar warehouse. Hundreds of guitars from floor to ceiling he just bought and put in this huge place. Almost none of them will ever get played or even see the light of day again. That really affected me and kinda bummed me out, like seeing caged animals in a zoo.
Plugins, on the other hand, are a problem. I blame Larry for that.