Been a bit since I had my hands on the knobs and faders of a mixer, but its like riding a bike I guess. Seriously though, If you send me a screen shot of the ‘mix console’ of the program you are using I could give you some serious input on how to get better sound. One in particular is engaging any “compression” algorithm that may be built in. Don’t crank on it, you just want to pull the low stuff up and pull the high stuff down so that its in a narrower bandwidth. A little EQ and you are in the ball park. You’ll hear the difference right quick too. Not at all bad for a first run. A quality Mic does wonders and the one you have looks like its top notch. I couldn’t make out the brand, but its designed for Vox for certain. (side note, My personal preference for vocal mike is a sennheiser Guitar mike. You see one in use in the Santana video, Smooth. Rob Thomas is using it in the street, and I laugh every damned time I see it because he has it backwards in every other shot. (its directional, gold side to source) )
another fair warning, you can lose a lot of money digging into AV equipment. and the usual advice of K.I.S.S. applies. And one thing that my old boss taught me, day one: “you want to get loud, figure out what you have to turn DOWN.” Of course, with just you and some background tunage, not much to worry about other than background noize, and that may be something as simple as hanging a blanket on the intervening door to where that noize is .
As a (retired)Sound dood, my job wasn’t so much to make the band ‘sound good’, it was to keep the system ‘clean’ of all the noize that makes things NOT sound good. As a monitor Guy, it was to make sure the band could hear themselves, or something specific, and sometimes (MOTORHEAD*, LOOKIN’ AT YOU!!!) just to turn shit up so damned loud that the house PA usually wasn’t needed for anything other than vocals.
Anywhoos, Keep at it, you have a face for it and a voice that does as well, Feel blessed, I have a voice for radio and radio only. My Mug would break that poor camera first five minutes.
*I did not work with Motorhead directly, but the company I worked for DID supply Lemmy his personal Monitor system and tech. A floor full of Wedges and a set of sidefills that looked like a regular PA system for most medium sized venues. I was there for one of the sound checks and by GOD, that system could destroy ENTIRE CITY BLOCKS, and Lemmy would stand there like it was just normal conversation level stuff. The tech, Chuck, told me that more often than not, the house would only run two mics for the band. Lemmy and Kickdrum. everything else was bleed over from the stage.