jerryfreak, your post interests me a lot since I would like to consider a similar, possible arrangement for myself some day.
My one observation is that I think 130 dB SPL as a ceiling value is too high. I think you can afford to let more of the signal from the microphones into the recorder's preamps, in other words. 130 dB SPL is typical of a brass instrument such as trombone or trumpet playing at maximum volume, if the microphone is less than a foot away from the instrument's bell--or if a person is totally screaming (or a trained operatic soprano is hitting a high note with full force) directly into a microphone (say 2" distance or less). If you have even a one-meter distance from things like the above, the levels at the microphone won't reach 130 dB SPL.
130 dB SPL on any ongoing basis is so loud that no human being (except one who is already profoundly deaf) would voluntarily stay in the same room with it. It would engage your fight-or-flight mechanism to an almost uncontrollable extent. At ~120 dB SPL, if you're standing next to someone and you want to tell them something, you'd have to yell to be heard. At 130 dB SPL, even if you and the other person could withstand it somehow, you could scream all you wanted, and they still wouldn't hear you.
Does that explain the difference? Being in a 130 dB SPL environment for more than a small number of seconds would be torture, and I don't use that word lightly. Your legs would probably be running for the nearest exit before you even realized they were.
For decades, the overload point of many professional condenser microphones was around 120 dB SPL, and that level is rarely reached in normal recording work. I think the highest level I ever legitimately encountered was a single peak at around 122 dB SPL, which was during a vocal master class. It came from a very strong operatic soprano doing a special exercise that required considerable warmup, followed by a strong attack on a note in the top register; the microphone was six inches in front of her. It slightly overloaded the preamp that I was using at the time, but not the microphone. I think that if I were you in the situation you have, I would go another 6 dB and draw the line at 124. I think that should be more than enough headroom for any semi-distant recording that I might ever do; even that might well be too cautious, to the detriment of quiet recordings.
Note that wind can produce similar levels of output from a condenser microphone capsule as extremely high SPLs, but I assume that you would use windscreening if you were recording outdoors.
--best regards