thats pretty much exactly what type of vox our singer does. Best thing I can say is that as far as compression goes, you want to have just enough to keep a good balance going in. A really good singer is also important and I don't mean with their talent, I mean with being able to sing very consistent and not move too much around the mic. Obviously you are beyond that part so for mixing what I do is usually high pass at around 100 ... he has a more bassy voice as well so it kills some of the rumble that builds up in sections that have doubled or harmony parts. Compression I use a slow attack and adjust the release on how he's singing for a particular song, it just depends on the tempo. Ratio is low but thats usually because the better part of the compression was handled during tracking, so maybe like 2:1, 4:1 if he's being a bit more froggy in his attack. As foe EQ, I do almost nothing except the high pass, at the most I might give a small boost somewhere in the upper mids just to give the vox a little more teeth, somewhere around 2000-4000 works for his voice but it depends on what range he's singing in. I almost never use a de-esser on him, never really needed to and aside from that I just put a couple of sends on his main vocal track, most of it going to a timed delay, some of it going to a verb. All his additional vocals I usually leave a lot more dry, just the smallest amount of reverb with my sends and then tuck them far underneath the main vocal.
It REALLY will depend on things like the tuning of the guitars/bass, how many tracks you have with vocals and also how dense the material itself is while vocals are going on. You may find it helps to cut out some small notches in the guitars at key frequencies of the vocal. I've done this too and it usually doesn't do anything to change the guitar sound while you're listening back to the whole mix
I also run my mixes through an AC1 plug in the master and use that to help get my levels balanced out. I might drive each mix about 4-6db hotter with it but keep the gain reduction at no more than 2db in the loudest parts (charles dye trick). It seems to really help things like vox and bass find their way through a dense mix better without overdoing anything. Another plug that can work well is the Vintage Warmer
anyway, those are my ideas.
Cheers!
