Small spaces bring hard surfaces closer to the mic, making flutter echoes and room mode resonances louder, create murky-sounding bass pooling, and can be overly-sensitive to mic position within the space; you can sound oddly different without warning.
You need to absorb the sound of your voice so there is less echo by baffling material on the back of the mic, and absorb room tone and echoes in the area the directional microphone is pointed, generally behind your head. Small spaces have only disadvantages as studios.
To take advantage of a reach-in closet full of clothes, put some pillows on the shelf over the clothes, take the closet doors off, and back into the closet as much as you can. In this way the microphone is primarily listening to the baffled sound inside the closet, and you can avoid bass pooling by speaking into the room—ideally with baffling material (e.g. see http://PillowFortStudios.com/ ) ON the back of a LDC microphone.
You need to absorb the sound of your voice so there is less echo by baffling material on the back of the mic, and absorb room tone and echoes in the area the directional microphone is pointed, generally behind your head. Small spaces have only disadvantages as studios.
To take advantage of a reach-in closet full of clothes, put some pillows on the shelf over the clothes, take the closet doors off, and back into the closet as much as you can. In this way the microphone is primarily listening to the baffled sound inside the closet, and you can avoid bass pooling by speaking into the room—ideally with baffling material (e.g. see http://PillowFortStudios.com/ ) ON the back of a LDC microphone.