hmmm. You're definitely not a drummer lol.
Paragons are well regarded, live, they're the Neil part ones correct? They're a bit harsh and gongyfor me. In a smaller room, they'd be out of control. But it'll depend on their size I think.
You have to find the right cymbal(s) for the room. Larger studios well treated you can get away with a lot. Studios like ours, we have to be ultra picky, what we think should work, sounds harsh and unforgiving in smaller setups. This is what I'm finding in my space. I have the absolute finest in hand hammered sweet medium thins that make absolutely every sound guy melt, have for years. But, recorded, they lack a certain sheen, they sound great, but it's not it. I know it. I have a pair of sabians that are very similar to the paragons. an 18, and a 17, medium thins (I HATE anything heavier!!) and they really don't cut it recording. They're absolutely great in an arena however
(which is where they got used...) but they splatter to hard, and lack the body and decay I'm looking for in recorded sounds. The newer ones people confuse all that cut with body. A big nope there. Neil peart's cymbals have a certain sound, they tend to be smaller often and have a way of punctuating, great for shots. I have a 16 zildjain thin "A" given to me by them which is perfect for that job. it's all SMASH, and gone.
Splashes, I have no love for.
And, china cymbals, even less. Maybe a real trash can lid type thing has it's place (like the dude in Steve Miller did...)
I find older zildjains to be magical. They're hard to find, you have to troll used shops. they have that beautiful decay, that I find missing in the more modern cymbals, which tend to focus on a sharp attack and cut. The very properties I avoid in every way possible
Trial and error. Speaking of maybe a walk over to century drums. Leaving my wallet, at home...