I have a "4 rack"... sometimes if I'm doing a "kik in" and a "kik out" mic I'll run the "kik in" [and/or the "kik out"] signal through an IBP... same with bass mic and DI... and sometimes composite bass signal vs. composite kik signal to get them to work and play well together... but as far as overheads, H/H's and snares go... make sure your kit still sounds like the drum kit when you hit the "mono" button and you'll not require an IBP in those applications.
FWIW... I have 3x IBP Jr. and 1x IBP in my rack... the IBP is often used for "re-amping" and the IBP Jr's cost less than the IBP and I've never had to 'reamp' more than one thing at a time.
I've also found the IBP's to do some very interesting **** to guitar / vocal relationships... which is another reason there are 4 in my rack [which could turn into 8 in the not too distant future as I'm finding more and more uses for them].
FWIW, I do NOT add them while tracking except in very rare occasions.
I just bought two IBPs used for about the price of the IBP Jrs. I have not recorded drums more than six times in the past, since I largely use sequence beats for my bands. Anyway, I am planning on recording many more drums in the near future, and am trying to decide whether to keep the second of a used pair of IBPs I just recently bought. Most of the uses would be for DI/mic combos, but....
Could someone describe other situations in which you have needed more than one IBP during tracking?. Fletcher, do I misinterpret your following sentence: "I do NOT add them while tracking except in very rare occasions"? Most of the purposes for which I can fathom the IBP's usefullness take place in the tracking phase...such as drum micing. The vocal/guitar relationship you described sounded interesting, though i can't understand why you'd need more than one IBP for that unless you were trying various mic combos on each.
Any details/experiences/thoughts would help. Offers to buy would NOT help. Thanks!
I have two IBPjrs (from Mercenary Audio, actually...) and I have limited experience with them. However, I have been using them a bit since I got them back in January. I've used them on toms, outside kick and snare. They are really great for getting your inside and outside kick mics to hit together the right way. Also, I've used them to get my top snare in phase with the overheads. Once again, it really works like a champ. I just flip the phase and play with it until I get the thinnest sound possible and then flip it back to hear what it sounds like at it's most "in phase" postition. Then of course, I will bypass it to hear what the ultimate difference is. I wouldn't mess with overheads. They're kind of a no brainer if you just go X/Y somewhere in the middle of the kit about four feet or so from the snare. The trick is to get the snare peak from your overheads hitting -5 on your VUs (in mono, or course) and then get the snare mic hitting -5 as well. Put them together and go to town with the IBP. The first record I tracked while using these things came out excellent. The mastering engineer asked the producer that works almost exclusively with me where he tracked the record. I guess it didn't sound like me! Probably because my drums sounded even bigger than they usually do.