I definitely alter my approach in the studio. I already play my cymbals high, partially for show-biz purposes, but I keep them as high or higher in the studio, too. Every engineer I've worked with has commented on that, and has been VERY happy to see the way I set up.

In addition to providing better separation, the engineer is not stuck with trying to fit a mic into some tiny gap between the edges of my cymbals and the top heads of my rack toms. Particularly when using larger mics like some Sennheisers, this is an issue. If I know I'm not going to play ride cymbal on a song, I take the cymbal off the stand, or take away the whole stand. Less sympathetic vibrations, and a less-obstructed area to mic.

Live, my setup is built for ease of shlepping, durability, and dependability. The less stands, the better. But in the studio, sound is all that matters. I don't care how the kit looks, just how it sounds. Whenever possible, every cymbal, drum, or accessory is on its own stand - there's no jungle-gym of multiclamps. This prevents any unwanted rattling, sympathetic vibration, etc.  I do sometimes mount the rack tom(s) on the bass drum, but have had no real problems with that. But I definitely don't have any drums and cymbals sharing a stand. All my stands that I record with are carefully maintained, to avoid any rattles or buzzes. I've actually just ordered a whole new set of stands, which I'm looking forward to taking into the studio this weekend if they show up on time.

I play hard in the studio, which engineers usually prefer. The sound of a drum getting hit hard is A) more exciting, and B) easier to record. I do not differentiate between how hard I hit the drums and how hard I hit the cymbals. I try to play the kit as one balanced instrument.

When I record, I do not change dynamics as much within a song as I do when performing live. If you analyze them, you'll find that most pop records maintain a fairly consistent volume at all times, so to add or subtract intensity from a track, I change the sounds I use, by doing things like opening the hihat, riding the bell of the ride, riding on a crash, etc. But I'm usually hitting the kick and snare at the same volume throughout the song, unless there is a particular part where an actual crescendo or decrescendo is required. For my toms, I usually just hit as hard as I can, because they record much clearer when hit hard, and can get lost if you try much subtle stuff.

I use more sensitive heads in the studio, using all single-ply coated, top and bottom (Aquarian). Live I use heavier heads, because I don't like to change heads often.

Hope this is helpful!

Unfortunately I never get drummers like Mr. A in the studio.