^ Agree with all of that, and especially the first point about the hierarchy of what makes a good recording. I'd also put quality of performance in there first.
DPA 4060/4061 are amazing quality and smaller than you can believe, but not only are they omni, they are almost perfectly omni at all frequencies, unlike most other omni mics that become more directional in the high frequencies. I used them in January for a choir festival in a typical "taper" location mid-audience because of logistical restrictions. In the past I've used my CM3s here with good results. The audience was quiet through the choirs singing, but I will absolutely never use the 4061s that far away ever again, unless it's a session recording with no audience. Every chair squeaking and paper rustling around and behind them was rendered in perfect detail. So in a rock audience where people are talking, etc. near your setup, you are likely to hear all that business in your recording more than you would care to.
And yes, I only ever go mics > 70D, or mics > FP24> M10. The second rig right now is a backup, or used on the rare occasions where I'm running 4 channels on the 70D but a co-worker wants a separate recording with his Schoeps mics, and my second rig is much quieter than his H6.