Honestly, I can't keep up with all the personal attacks.
I replied to the OP based on my experience as a performer, folk festival sound director, and long-time user of portable equipment (78, Edison cylinder, cassette, Dolby cassette, DAT, R-R, MD, and digital flash) as well as expensive mics and mic pres recording classical chamber concerts. And have even done a published cable comparison test in my day, too. And have several field recordings in the Library of Congress (who commended me for certain technical innovations I created for field recording Southern Shape-Note choirs).
I offered my opinion that hundreds of dollars of outboard stuff would offer little improvement
to the OP for the OP's stated purpose.
If you disagree, try to disagree with the opinion - not my "attitude", my alleged "demands" or all the rest of that rot.
Do try to help the poor OP. I seem to be the only one addressing his question.
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You know something, Church-Audio? I was so pleased that you had answered my question (in language we could all understand) that I copied it and saved it, in order to give it a good ponder.
I was about to post a "thank you" when I got to the last part:
DO I think your going to get good stereo separation from two mics placed like that on a recorder HELL NO. But again why am I wasting my time explaining things to you? You already seem to know more then all of us right?The first is a topic I never once brought up ... and neither has anyone else. Stereo separation? Really?
The second is just too sad for words.
So thank you for everything before that. It was lucid, and helpful, and answered exactly what I asked. As I know the decibel level of the things I will be recording (thanks to my trusty Radio Snack decibel meter), I know that the Sony will do just what I need it to do and not overload. I will be ordering one tomorrow.
Hey, y'all - be sure to buy your fave's CDs, tip your waitress, and share your water at them there bluegrass festivals!