Do you use just a pair of OH mics...are do you additionally mic the cymbals?
IMO...a lot depends on the OH mic positions and also how the cymbals are angled, which is usually a per-drummer thing...but I try to not have the edges of the cymbals in a line-drive to the mics, most of their sound comes off of them.
I also use thin cymbals and "dark" models in the studio, since I don't have 30' high ceilings and a massive room to put the drums in....the ceiling/wall boundaries are close...so the thinner cymbals tend to fade quicker quieter. I went through an endless cymbal swap for several months a bunch of years back when I was assembling the studio kit, and I think all total, I must purchased about 20-25 cymbals, to end up with about 6 that I liked.
I have some Paper Thin, Thin and Dark and Custom Dark...As and Ks. Not saying you can't use big Rock live gig cymbals ...but they do tend to be louder and withy longer decay.
Of course, there other variables too, so you have to experiment with the cymbals, the mic placement, how hard you hit them, and any processing you apply before/after.
I also keep a bunch of moon gels and other "dampers" ...even something as basic as gaffers tape or self-sticking foam or rubber weather-stripping, and just rip off a small piece and keep trying out different spots on the cymbal until you get the desired effect. Sometimes it takes 2-3 small pieces...etc.
Real anecdote from way back, though I don't remember who actually did this...but I've heard of someone using an aerosol spray can (something safe, of course) to simulate cymbal "whoosh" with a controlled level and duration.