Jim Roseberry
Classics are classic for a reason (they work).
This.
Unless you've a big budget and can go out and buy as much gear as you happen to feel the need for you're almost certainly going to be better off with a couple of the "classics" than any number of very cheap microphones or a single "distinctive" one.
Valve (or tube, depending where you are) microphones, pre-amps etc. open up a new can of worms. Valves do not sound the same, even if they are electronically interchangable. A 1970s Philips 12AX7 doesn't sound like a same vintage General Electric or a modern JJ-Tesla 12AX7. Which in turn doesn't sound the same as a modern Sovtek and so on. Cheap valve gear also often uses very cheap Chinese valves which are frankly horrible sounding and replacing them with something better can make a real difference, though some guitarists who use high-gain Marshalls seem to like the Chinese valves because they distort nastily and easily.
So before you know it you'll be off down the valve rabbit hole comparing and trying different ones then, especially if New Old Stock valves give you the sound you particularly want buying a substantial number of them before they disappear to make sure you've enough in hand for when one fails. The valves used in mics and preamps tend to last many years but once on a while even a new valve can fail which is why virtually no-one warrantees a valve for more than 90 days. Not even Fender and Marshall. Some valves used in microphones are hard to get hold of at all which doesn't help.
My personal opinion is that it's best to get a couple of "classics" that can be used for many applications and leave the more specialised or oddball microphones alone until you know why you specifically want that particular microphone's sound. Say one large diaphragm condensor that doesn't break the bank and a general purpose dynamic like the SM57. Or a Shure SM7B dynamic which can handle pretty much anything you care to point it at. If you record acoustic guitar, strings or similar a small-diaphragm condensor can also be very useful.
When shopping for a condensor check if an elastic suspension comes with the mic or not, or, like the C1000S, if there's one built in. They can by surprisingly expensive if bought seperately and without one every foot-tap on the floor will be transmitted up the mic stand into the mic and get recorded.