Trying to improve my Vocal Mixing.

Hey there, Pete.
 
Let me see if I can help. *I'm going to intentionally over-simplify my response to keep it brief.*
 
In your studies you probably learned there are two main reasons for modifying a track, like your vocals within a mix. There are the type of modifications so the track fits in the mix and doesn't get buried or bury any other tracks. 
 
There is also modifying tracks for effect--just to enhance the sound or make your own unique sound, etc.
 
Neither of these techniques are mutually exclusive--you can do both. Both use many of the same tools, like EQ, compression, even saturation (distortion), reverb and/or delay.
 
I recorded and mixed for over 30 years as being self-taught before I did what you're doing with studying not only the how, but the why you do things in a mix.
 
I think the best way you're going to get the answer from this forum that you're looking for, is if we know why you're wanting your vocal to be thicker. Is it because it gets lost in the mix, is it because you want the vocals to pop, or is it because when you listen to pro mixes you like, yours doesn't sound like theirs?
 
The reason we need to know this, is because there is always give and take when you start modifying a track. If you merely add something to your vocal track, you may take away from another track that might be sharing the same EQ space, etc.
 
Your routing sounds pretty cool, and I'd like to try it, but I can't emphasize enough, that if you want to improve your craft and end up being pretty darn good at it, you need to ask yourself, "why" you are doing what you're doing to your (vocal or?) track. That will help you make sure you only make those modifications that will do what you want (improve the track), with the least amount of taking away from another track, or the overall project.
 
This is my .02. There are a lot of really excellent and experienced members in this forum that can help as well, but I wanted to give you a tip that I think will not only help this track you're working on, but build your ear and craft at the same time.
 
Cheers,

You should be able to get an OK sound, I would think, with what you've got.  Don't use the starved plate tube on the MP, tho.  You don't mention your interface, but be sure it is going into a line input, not mic, if you are using the MP.  Most auto select.
 
I can't follow your routing scheme but it seems like you are doubling the vocal to the output, which would account for sounding thicker.  You shouldn't have to do that to get a good signal.  If you vocal track isn't settling in around -12 dB or so and spiking up to - 3 dB, you are probably recording a bit soft.  Which may make it hard to get enough gain to "float" above 10-20 tracks of guitar and what not.  You can experiment w/ normalizing but be careful.  - 6 dB is most often enough.  All normalizing does is up the vol percentage wise up until you hit 0 dB - basically adding gain.
 
Once you get a nice signal that is about as loud as the music tracks and that peeks over the music, you can fine tune the vol using an envelope.  This takes experience to hear the relative vols and it takes time to do.  I'll run through a vocal track and eyeball it and reduce any spikes or peaks.  Then go through and adjust the low areas up and the louder areas down, and use your ears.  It does take time to learn to hear how much energy a sound contains relative to the next phrase - you might cover 6 dB or more depending upon the performance.  EQ can help - I always roll off vocals from 100 Hz up to 200, depending upon the voice.  There ain't nothing down there even for Barry White.  Sibilance happens around 6 kHz, and esp. for females it often helps to dip here.  And because of the mic I use I almost always add some air - above 10 kHz, with a shelf.  This is with the Prochannel EQ, and there are a few other spots that either boost of dip - 400 Hz being one area that tends to get tubby.  But all that depends upon the song and voice.
 
Once you get the vol situated then I add compression and limiting.  The purpose of those is to compress or limit the variation between the loudest and softest passages, and most software works better the less it has to work.  Hardware you can hit harder and it sounds better, but even with the really good stuff it usually sounds smoother to apply layers of compression rather than slam it one time.  So I usually use a nice analog comp going in, then have the optical or FET Prochannel track and send the vocal out through a bus and put the SSL PC on it.  That is 3 compressors each working a little - that can really firm up a signal so the vocals never overwhelm the music or drops below the level of the music.  The vocals just kinda float along with even the softer passages clear and the loudest ones feel louder without masking the music.  Some good reverb - just a touch.  Most of the software reverbs are set too high - I usually have the reverb set to only 20% wet or the reverb down -12 dB to - 20 compared to the dry. 
 
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