Hello Ian,
It is a pity that I can’t see the pictures of your home recording studio.
Can you give me the dimensions–length, width, height?
I can at least calculate the room modes, i.e. the frequencies that resonate, from those.
No matter if you don’t want.
There are certain frequencies that are boosted due to the room dimensions. Especially those under 400 Hz. Now, it seems that your cabin is fairly small (above 2500 cubic feet is ideal) and thus some frequencies in the mid-range are boosted. This can’t be avoided, unless you tear down the walls and make a free field studio.
The trick is now to find the sweet spot from where to speak from. Near a wall is bad, it boosts the most. In the middle is also bad, it will prefer odd harmonics and damp even ones.
Strange enough, the ideal point is the golden ratio (1:0.618034), approx 38 % of the dimension.
So, if the room has 10’ X 5’ X 8’, you would start by moving 3.8’ from a shorter wall and facing the other short wall, 1.9’ parallel to the long wall.
The same is true for the height, but is scarcely applicable.
The microphone would now be about 1’ in front of you.
I can’t tell how your mud guards etc. must be placed, I think they have some instructions attached.
In general, bass traps are placed at all possible corners, where the walls meet, the walls the floor and the walls the ceiling.
Foam absorbers, diffusors and similar are placed:
- at head-height behind and in front.
- at head-height, on the long wall, between you and the microphone (in our example 3.95’ from the short wall)
Very important is to place one at the ceiling too and perhaps at your feet, if the carpet doesn’t absorb enough. However, I think you’ve already covered all walls.
Besides the standing waves, there are also the comb effects we have to include. They are created when your speech bounces off a surface and arrives at the microphone with a min delay. This is especially noticeable in small rooms.
You might see the dilemma now:
You can try to find the mentioned sweet spot by some amount of trial and error or you can use my submitted eq-curve to correct the resonance in post production.
The first option is preferable since it is always better to correct on the input side.
However, if you start to move around, the spectrum will be changed and my eq-curve won’t be valid anymore which is bad because you can’t avoid equalization anyway (due to the room properties).
In other words, I would have to find a new profile fitting to the recordings you are going to submit next.
I actually find that the Cattle1 eq-curve isn’t too bad. We can include the roll-off for speech and perhaps remove the boosts above 3150 Hz (they become piercing at high volume playback).
By the way, don’t meddle equalization with compression.
The EQ is not against the mentioned peaks “Let’s go” etc.
You can’t control the resonances by your performance (unless you whisper 
).
The peaks (which are actually just certain words that do have too much energy) I will try to treat in another post.
I can’t see Koz’ point that the boominess is scarcely noticeable and not important therefore. In my opinion, it makes the difference between a cheap YouTube video and a ambitious production that should be sold in the end.
I usually do not bother to give feed back on projects that I don’t really care for.
It hurts to see your children not to go to any length to make the most of themselves.
