I contend that because of the stepped gain of the PSP-2, you need to do fine level adjustment at some point after the PSP-2.
Assuming the numeric difference in the "Mic Sensitivity" steps translates 1:1 to gain in dB, and assuming the lowest setting possible with the PSP-2 is +20 dB (see previously in this thread), then the steps are:
+20 (Mic sens: "-35"; Gain "0")
+26 (Mic sens: "-35"; Gain "+6")
+32 (Mic sens: "-35"; Gain "+12")
+40 (Mic sens: "-55"; Gain "0")
+46 (Mic sens: "-55"; Gain "+6")
+52 (Mic sens: "-55"; Gain "+12")
+55 (Mic sens: "-70"; Gain "0")
+61 (Mic sens: "-70"; Gain "+6")
+67 (Mic sens: "-70"; Gain "+12")
Just going off the venue that I've taped a few times, my gain is usually set between +20 to +40, depending on various factors, like the loudness of the band, where I'm standing, and the type of preamp (I've run an Aerco, V3, Lemosax and PSP-2).
So with the PSP-2, it doesn't give me much to play with in the +20 to +40 gain range if you want to do fine adjustments to the gain to get levels between -6 and 0. I am going to be either under or over, so I have to have a second step where I add gain or attenuate.
I am either going to do this with a second stage preamp (like a dedicated unit or the preamp in the recorder), or using software in post.
At this point, I don't mind lugging around the V3, particularly at that venue. There is actually a spot where I can take out all my gear and place it on a shelf, protected from the crowd.
Anyway, I am planning to tape Greensky Bluegrass on Mon at that venue and I will be going:
PSP-2 (bal) > V3 (dig) > MT II or PMD-661 (and hopefully PSP-2 (bal) > V3 (analog) > Mytek > PMD 661)
PSP-2 (unbal) > Korg MR-1
I will probably engage the -20 dB switch on the V3, and use -20 dB attenuator cables on the Korg. Hopefully I'll have a comp for "y'all" (just getting into the bluegrass mood).
if u dont come digi out of the v3, all u got is 2 pre's giving gain, no adc from the v3. so u r still using the adc in your hand held, pretty much making the v3 pointless. ed