With tone in general I obsess over the RH, as I think all CG players should. Sounding the strings with our fingers (as opposed to merely fretting them) is what separates us from not only most other guitarists but most instrumentalists in general save for harpists. That said our individual tone will come from our RH technique and the subtle changes one can make (nail length, shape, RH position, etc) have profound effects on our sound. Experimentation is generally the key, especially for someone like yourself who has no glaring problems with your RH position or technique (at least as far as I can tell). Over the years I've also noticed a very interesting facet of my RH technique; I play much differently once I'm confident with a piece, and the difference is all in the right hand. That difference manifests itself in better tone. Shearer has a term for it that I forget (hesitation and insecurity, I think). I think that's why I tend to take longer than some on here to upload. Even once I've got the piece to a point where much of the flubbed notes and temporal pauses are ironed out, I know that another few days with the piece will improve the tone.
These are very good points and you are right to obsess over the tone, something that I forget about as I sit in front of the camera concentrating on not making mistakes! I have a real problem with tensing up while recording and this just ruins the tone, but I know really knowing a piece and becoming familiar with it allows us to work on the tone better. I am trying to memorize these excercises as it seems I can play them more relaxed when it's "showtime".
And with that here is a more relaxed Greensleeves, though still not perfect.
Good first posts Richard!