it's all about the close micking...

The smaller the room the more chance you may have with sounds bouncing off the walls and the mics picking up the slap back that can create comb filtering and phasing probelms. You may just want to treat the walls that are fairly close to microphones with some sort of sound absorbtive material, like moving blankets, to help reduce some of the reflected sounds. You don't have to turn it into an anechoic chamber, but you may just want to reduce some of the slap back so that it doesn't screw you when it comes time to mix.

I would also suggest a room mic strategically placed somewhere in the room, with the emphasis of getting the kit as a whole, so you can experiment, like creating your own room sounds (ie. in conjunction with your favourite reverb unit/plugin), and as a safety factor if, for example, a mic craps out in the middle of a song, drummer hits something off mic, so on and so forth.

good luck