Well, ok, here's my take. The big question, as usual, is ...ARE YOU PLANNING ON THESE RECORDINGS LEAVING YOUR STUDIO? In other words, are these simply for RE LISTENING to in the same room? Or are these DEMO's, which will be played on OTHER systems.
If these are for your own use, well, it's your ears only. So, do what ever sounds good to you. Since the recordings will never be played over other systems, simply EQ to taste. Thats what people do on OTHER systems.
However, IF these are demo's, then they need to have TRANSLATION adjustments. The ONLY way they will translate to other systems is IF THE ROOM DOESN"T LIE TO YOU. You have TWO scenarios. One, recording. Two, mixing. If the room lies during recording, then it will lie again when mixing. However, the real problem is monitoring while recording. There is no way, especially since you are recording yourself, which means you must listen to the other tracks on headphones, which ultimately LIE in the first place. You don't have the option of hearing the recording on monitors in a seperate room WHILE YOU RECORD IT. Therefore, it is even more important to trust what your monitors AND room tell you when mixing. This means having the flattest foom response you can afford to get. This also means having a room that you are NOT trying to record the ambience of the room, otherwise, when you mix, you will get the same thing, which is not necessarily the best scenario to MIX in. Therefore you have TWO options.
One, build your treatment as a flexible environment whereby you can CHANGE the RT-60. One environment would have a more reflective quality, IF you want to capture the ambience of the room. This would entail perhaps louvers over broadband absorbers, or the use of Slat resonators on the rear side walls and rear wll possibly. The slats will reflect while the slots between the slats allow for absorption via rigid fiberglass behind. The slats could actually be louvers if designed correctly. You could change these at will to allow for more or less broadband absorption/reflection. Keep your mixing environment the same however. Sidewall/cloud absorbers for early reflection control, possibly soffit mounting speakers, or use corner absorbers behind the monitors, and at the rear corners, with slat absorber on the rear wall with deep cavities behind for lower/mid frequency absorption/ and slats for reflection. Possibly a diffuser on the rear wall, such as a polycylindrical or two. Or a combination. It all depends on your room geometry, dimensions and over all engineering space vs depth to rear wall.
Two, use as much absorption/bass traps as possible, making a dead space for recording, and putting up removable reflective panels for ambience to taste while recording/mixing. There are many possibilities.
The point is, to TRANSLATE to other systems if these recordings leave your premisis for other ears to hear. No matter what, if these are SUB MASTERS, to be MASTERED in another facility, then it is even more imperitve to have a room whereby the Mastering engineer has something to work with that needs NO seperate tracking EQ. He can't alter specific tracks after you have mixed them...understand?
But if these are only for your ears, in your studio, well, hell, just eq it to taste. Whats the point of spending a lot of money and time if it can sound good to you just using an EQ. Understand?
Well, thats my .02. Hope it helps filter out the REASON for the treatment.
fitZ
