It's very difficult to understand how you are working and what might be your exact problem, you need to be more precise in describing it, maybe post a screenshot, and you might be using terms wrongly also. But I'll try.
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Originally Posted by ZacMenton
I am currently struggling with the sliders on buses, because without any effects at 0.0db gain, they make my sound louder?
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Are you bussing the vocal track to aux tracks to use the plugins there? Then don't. One track, plugins on that track, there are room for 10+ plugins on each track.
Quote:
Originally Posted by ZacMenton
because without any effects at 0.0db gain, they make my sound louder? First off, how would I stop this from happening? I assume that I may need all the buses running quieter than the vocal track, although this would mean the effects of my vocal processes
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Again; one vocal take - one track only!
Quote:
Originally Posted by ZacMenton
In my type of mixing, I aim to have at least 2 EQ's, 2 compressors, a single gate, one de-esser, one vocal tuner, a reverb and a delay.
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No serious mixer works like this. You must listen to the track, preferably on good speakers in a well-controlled environment, and decide what is good/bad about it. To dark, too bright, too much mid-tone? Maybe insert a basic PT EQ and see if it sounds better with a little low end cut, maybe it needs a little top-end boost? And do try things out with other instruments playing. You want the vocal to "sit" in context. Then maybe a bit of soft compression to give it more power. Less is more.
Quote:
Originally Posted by ZacMenton
All this begins with a volume automation to get my vocals not to be extra loud on certain words, and make the compressor's jobs easier, testing this yielded great results, HOWEVER, would it be more efficient to have the automation last as part of my dithering chain (mastering stage)?
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Neither makes any sense. When you're happy with the overall mix, you can decide if you can make it even better by automating different tracks. Your approach will cause problems with setting compression on the track.
And seriously: forget about dithering, you clearly don't understand it. Same goes for mastering.
You should concentrate on mixing, read some articles, watch some youtube videos.
Quote:
Originally Posted by ZacMenton
a reverb and a delay.
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This is where sends and busses come in. It helps to understand where this came from; in the old days you would typically have an analog mixer with a couple of sends on each track, and an outboard reverb unit connected to the bus out of one send and routed back into a track on the mixer. So every track that had a bit of its audio going from its send via the bus to the reverb would come back on the mixer reverb track and mix in. The reverb would always be set to 100% wet (no direct signal). So, create a mono aux track and set the aux track input to f.ex "Bus 1". Now insert a stereo reverb on that aux (it will become a mono-in, stereo-out. Set its output to Master 1-2 or whatever you call your main outs. Now any or all tracks can have a reverb-send on them.
Delays would typically be used on one track only, ie your vocal track would have a delay as one of the last plugins on it.