These essential conditions are self-evident, but "just about anything" has to be interpreted as nothing but an impactful phrase. The difference between the Berlin Philharmonic recorded with DPA compared to SM57s (or should I say a mobile phone) will not feel like 10-15%.
Of course, I was being a bit reductive. However I would still prefer to take an iPhone into a great room with a great talent than a U87 into an API console in a subway bathroom with a terrible singer.
A good friend of mine recorded an entire album with SM57's (and SM58's as well) into a 8 channel mic pre I designed based on the INA163, and overall it the album sounded fantastic,
once I convinced him to invest in some proper room treatment in his live room (bass trapping in the corners, diffusion on the walls, etc). We even mocked up a temporary vocal booth using heavy moving blankets arranged in a trapezoid.
Obviously rock albums are one thing, where you are (mostly) close miking really loud sources in a controlled space, but I stand by the idea that, at least in my experience, the recording space, the signal source, and microphone placement dominate what is heard in the recorded signal.
I've never tried to record a symphony in a large space, so I can imagine that special considerations are warranted, however I find it hard to wrap my head around the idea that success is solely limited to what kind of EQ curve is in the mike, versus applying EQ curves to the multitrack. It seems akin to saying that one can never eat any food that has been salted.