I've returned to Turkey, only this time I have time and a plan, which I've tried to outline in today's post. It's winter and it's freezing cold in the night here - all the more incentive to work quickly.
The room is going to be a control room
There is plenty of space on the site that can provide good quality recordings (not to mention a variety of microphones and preamps to capture a range of different qualities). Because of this it makes more sense to direct the investment of time and money into building a great mixing space, which can be used universally for whatever genre at any time of the year. The isolation here will make for productive mixing sessions...
Free standing near field monitors are better than soffit mounted ones.
Though this may not be true all the time, or even most of the time, geometry of the room trumps all else in my situation. In any case, the monitors I have do not want to be mounted in a box, they are designed to be free standing and operate better in these conditions.
Space confining, heavy treatment
It has to be a control room, it has to be a critical listening environment. Bass absorption is of course necessary. In my case 2 of the three walls and the floor are made of rock/concrete, which is reflective to bass frequencies. I've checked, the room is susceptible to 'room boom' and needs a lot of treatment which will reduce the workable volume of the room. It's a good thing that it's a fairly spacious room to begin with, and that there are lots of other places on-site for musicians to perform/record.
Plan? What plan?
I wanted to get the plan for the room finalised, so I can tell the carpenter, who will do the bulk of the work, but there are so many unknowns that won't become clear until at least some of the work has begun. So I'm going to start with rear corner traps and some wall absorber panels before running a series of tests for comparison.