This is an easy and cheap way to control Lows in a room.
If we simply use porous absorbers (like foams or rockwool/fiberglass) we'll end in a very dead room - no high end, very little reverberation - a totally unnatural enviroment since we're used to glue sounds with reverberation and realize our position in space by hearing sound reflections oposing to direct sound.
Our brain needs those subtle data to feel inside a place, to feel that there are walls, floor and ceiling around us. This is why we use reverbs and delays in a mixing process. This is the secret behind obtaining an soundscape with depth and dimensions beyond simply Left/Right paning.
This is true when recording - that's why we combine distant and ambient miking with close miking techniques - as is true in mixing. But we need or enjoy being in live rooms, too. Specially when playing, since each musical style uses longer or shorter reverb times (as Gregorian Choirs in a Cathedral or a Punk Band in a garage or small club).
We should adjust reverb time to match the music we're playing combining different materials to control each tone band (sub-bass, lows, low-mids, mids, hi-mids and so on). But in Javelinemd's room the issue seems to be standing waves reinforcing lows.
In this scenario is better to kill just the specific frequencys that are exagerated. Avoid using foams to not make things worst. They will mess with your high end and let Lows prevail compared to such damped Highs. Since thin sheets of porous absorbers can't affect lows (just highs above cut off frequency), using them without Bass Traps creates boomy rooms.
ps.: Love your effort in portuguese, Edwin!
(Message edited by mario farufyno on November 28, 2012)
