I tend to begin by bringing up the vocal towards the end of the mixing. Meaning that I craft the music into shape before adding the vocal. Nothing is set in stone, but this is a general approach.
I start by listening to the raw vocal track against the music. I am listening for how it fits into the picture and what I will need to do to make it work within the context of the mix.
Once I've established what is required of the vocal I begin by choosing an EQ plug-in.
Without fail I always seem to reach for the Digi EQ3 plug-in. It works extremely well for doing subtractive EQing; however, I am not to keen on performing extreme boosts to the top end. It tends to become more brittle and strident. This is where a better plug-in with a complex algorithm comes into play.
If I need to boost the high end I adore the Massenburg EQ. It is great for broad strokes and the top end sounds amazingly pristine. This plug-in was previously available only to PTHD users, but with its growing popularity has been made for RTAS users as well.
Another great EQ is the UAD Plutec. It is great for use with a background vocal buss.
The next plug-in I use is the UAD 1176. This thing really sounds like the hardware version. Some may disagree, but I have the hardware unit as well. I've tested them and within the context of a mix you'd never know the difference.
It is great for pummeling a vocal into submission. It is equally as aggressive as is the hardware version.
I then add the UAD LA2A to help tame some of the aggressiveness imparted by the 1176. The LA2A plug-in when used in compressor mode is really great at smoothing out the rough edges. This is a very common chain even within the analog world and I have since adapted it to my method.
So what I've accomplished is adding a bit more than what is required with the 1176 and taming it with the LA2A. Beyond that they impart a tone that is quite pleasing.
I then follow it with the a Waves L1 limiter. This is a very simple yet effective plug-in. I use it more as a precautionary measure to ensure that I never overload the track.
Many times the rules have to be broken in order to achieve a certain sound that you envision. In this case the gain staging may be a little "off" in favor of a better tone. The L1 is great for this purpose.
Sometimes if I need just a little extra I will use either a Digi 1-band EQ to add/subtract that last frequency that stands between a good mix and a great mix.
Occasionally I will use the Cranesong Phoenix. It is essentially a a plug-in that enhances the harmonics of the vocal. It has one simple knob and three options for various coloring. I may choose this in favor of the EQ if the vocal is a bit anemic or recorded poorly.