Beep,
the important thing is to remember it is source, room, mic, mic preamp, convertor.
As SOS sez incessently, hang a quilt behind you. Dampens the 1st reflections from behind you, as well as 2nd reflections from the front and sides bouncing off the back wall.
The two mic approach is interesting and has been used. But one should be concerned that the front mic (pay special attention to phase issues!) is all splashy. Have you tried placing the mic higher than your mouth? Position can make a world of difference. See if you can't get someone to help, doing the record function as you move the mic around and test. Even better if they have ears and can offer placement help. I don't know the mic but I know w/ sdc backing off the mic can help "round out" the sound. SDC's can sound great on females, but power males are a bit iffy. A sock is no real answer. Of course, a pop filter shouldn't alter the tone, either. But if you are working alone and tend to get into the moment, a pop filter can place you in one spot and keep you from getting to close to the mic.
As far as vocal fx, my traditional chain (as well as many others) is the 1176 followed by the La2a. Note, don't use a lot of gain reduction or drive in them at first or you will get saturation. Use the combo to get the vocal track into a steady range of volume - shaving off a little of the loudest parts and firming up the lower ones. You don't want to kill the dynamics, just make it less intrusive. Then use vol automation to level it even more (tho vol automation is useful before the comp process if the levels are all over the place - a lot of time I'll bring down [or up] the chorus etc. beforehand if there is a big difference). eq, hard to say - depends upon the voice and instruments, but almost always high pass to get rid of noise down low. Even the air in the bottom can eat up headroom. Sibilance is 6-7 kHz. This can usually be brought down. "Air" is above 10 kHz, come up w/ that. a lot of vocal energy is 1-3 kHz. Dip offending instruments there if necessary. YOur problem sounds different (I'm going w/ what you've said in other posts here). But a well recorded vox should respond in general to those settings.
As far as not having cash - I understand. It costs very little to get a little room treatment that can make a big difference. Quilts, bookcase (w/ books - ok, that is more expensive) for diffusion. A bed (for absorption of lower frequencies). A room w/ furniture sounds a lot deader than an empty room if you've ever painted the same room.
And mic placement costs nothing.
Now, as far as equipment ... Pop screen rather than sock. Cost more ($20-30) but won't interfer w/ the sound. a better mic. Here at home I use Oktavas since I got them cheap back when. I had my 319 modified after I dropped it by M. Joly. It is a better mic for that - more open, bla bla bla. It was before and is now even more acceptable. A 319 or 219 is a very usable mic standard for just about everything. The AKG 214 is like the 414 which is another studio "standard." A ribbon mic might fit your voice from what you have described if you are getting a harsh, bright tone. I picked up a mxl for here at home, the $99 one (on SALE! even cheaper). It is certainly less bright and low end forever. However, any ribbon and many dynamic mikes (the sm 7) need more gain from the preamp. One of the things I advise for the home studio guy is to make friends w/ local studios. Most people that run studios due it from a love of music and don't mind helping out local talent as long as it doesn't become a bother. Prehaps you could find a studio that would let you try out a few types of mics to fit your voice and ears?
Preamps aren't over rated but are not a cure for a bad mic or room. But a good one makes the recording life soo much easier and for someone getting in (or back into recording) removes all kinds of issues. A good preamp like the Warm Audio or ISA one or Gap 73 or the RNP provides high gain for ribbons/dynamics or backing the mic off and high grade electronics that don't crap out like just about every interface preamp. Any of those above are about $400, will work just like and about as good $4000 preamps w/o the bragging rights and keep most of their value and last a lifetime. A good investment if you are ready. A channel strip is better, but is a larger investment.
The best thing is too spend time developing your technique and ear. Although age and rocknroll have taken a toll on my ears, I can hear musical details better than ever. Then you can really use better equipment to your advantage.
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