After flutter is gone, up to what frequencies R problematic?

Real Traps have their new soffit traps that are really effective up to 400HZ. They stop being effective at all at around 8000 HZ. For a room that is 19X11X7'8", would it be more effective to put these in all your corners?? Product data i found is here: http://www.realtraps.com/data.htm I don't want the room getting too dead, so I like the idea of this... but not sure if I will still need a lot more absorption in the higher frequencies. Keep in mind, I have 4 mini traps to place in the room too... and will place additional minitraps above the drum set because of the low ceiling. This is for a live/control room in one job...

For smaller rooms, modes can be problematic up to around 400 hZ - what this depends on is the room dimensions. The larger the room, the lower frequency where there are enough modes to smooth out the response, so the less modal problems. If the room is REALLY large, there ARE no modal problems because by the time the modes reach a high enough frequency to be audible, there are so many of them all mixed together, so to speak, that they aren't individually distinguishable. (Your room isn't that big :wink: ) I ran a full modal analysis of your room dimensions, compliments of Jeff Szymanski's excellent excel spreadsheet, and the only problem that appears is a LACK of modal energy around 40 hZ - So trapping all your corners will bring down the OTHER modes enough to smooth that dip out. Other than that, you may want to build a "cloud" for over your mix area, and use some absorbent patches at first reflection points. There are two main ways to utilize a single-room facility well - one is to make the whole room pretty dry, just as if it were only a control room; then use the best digital reverb(s) you can afford to add ambience to your tracks. The other way is to build some movable treatments which you use for mixdown, and keep the actual room more live. Either way accomplishes essentially the same goal; you need your mix area relatively dry, so you don't mistake room ambience for "tape" ambience, and end up with too dry a mix. The "digital" way is easier, but unless you have more than one reverb or a really good one, you may not like the results as well. The other "up" side of using a dry room and digital reverb is if you do a lot of punch-ins; it's easier to mask a punch that's dry by adding reverb, than to mask a "wet" punch with ANOTHER reverb tail from the room that may not match the decay of the original. HTH... Steve