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Sure
Cons Plan A:
- Mix: the issue is that the speakers are in the nook and your ears (and clients) are essentially in a different (but adjacent) acoustical space. Imaging/Depth/Balance decisions will be extremely tough. Low frequency could be (theoretically) "corrected" with multiple subs and proper calibration...but what a pain.
- Drums: phase issues from angled surfaces...even with absorption panels, cymbals are going to be tough to capture.
Pros Plan B:
- Mix: as for speaker/boundary interference...once you're beyond 4.5' the cancellation goes below low frequency response of most reference monitors. It's not that you won't have to have an acoustical "awareness" of the wall behind the monitors...but it won't be this cancellation dip. You'll need to not place speakers in significant modal peaks/dips (instead of your ears, you may be able to place your speakers in the 33%-38% range, but be careful to keep ears away from 50% front/back). By placing absorbers behind the speakers you should immediately stabalize the depth aspect of the soundstage. But, the ceiling angles are still problematic (as mentioned for drums)...just a better battle to fight: absorb the clip surfaces to improve mix opposed to having weird drum tracks.
Placing drums in nook per Plan B can work to your advantage...like a little drum shell.
As for more or less bass response from proximity...not really the goal. The goal is accuracy. This profile of room, in my experiences, will always have a lower mid/upper bass resonance that may persist. However, by using very efficient corner traps and broadband absorbers first, you CAN make this work.
If money was NO object (and I understand realities) and I was asked for a single "widget" to use it would have to be the RPG BAD Arc panel (4" thick). It's offers near linear absorption to 100 Hz, even diffusion of upper mid and polycylindrical scattering of mids/highs... a couple dozen of these could make this space a very balanced project studio.
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