I have not seen the image yet- my computer at work is "blocking" it..... (at work  really! and I am reading this stuff - shame on me). lol

Thanks for that screen grab caPSLOCK - since I tend to be very visual, this helps a lot. One other question for you or other readers. When you are combining some reverb with delay, do you set up the reverb as a separate send from the vocal track and mix to taste - or do you send the delay bus to a reverb bus and work it that way? 

remember having the delay in your tracks as an effect or in your bus as an effect will effect the way you use the plug in.
mix setting being most important.
 
rather than waste mega resources by putting one delay on each track, you can create a bus and send all your vocals to this bus using a send.
but in these cases MIX is typically pinned to 100% in most bus applications, play around to find ear pleasers first but more often than not this is the way its done.
 
1 delay, multiple vox tracks going to that bus.

Chuck has the right advice about using a buss.  And, I am sure you have twigged to the idea that this applies to other effects as well.

Ya I noticed Caplocks had his mix way down which implies the effect is in a track bin. I never add efx other than compressors directly to a track. I use a shared buss. Most of my classic rock or country projects will have a Reverb buss and a Delay buss. Nothing muddys a mix better than a different reverb and/or delay on each track. 
 
Notice the Tempo sync in the sceen shot..  that's what I use. 

I agree on using fx busses. One question I still have though; if anyone has a verb and delay buss - but sends (with a level to taste) the delay buss to the verb buss  ----so like "daisy-chaining" those two fx? Or do you just send to each of them seperately from the vocal track....... thanks

I have no problem with using delays before reverb.  It's all about the sound...  And for what it's worth, I also do often like to use delays as inserts (as you saw above) because I tend to build my sonic space up by creating different (pseudo) "locations" for each track with delay settings along side panning, volume, eq and reverb types and amounts. 
 
For example I use delays that may have a longer regen (or longer deay, or just simply be louder) on the side the track is NOT panned to.  In other words I will pan my first BGV 70% right, and shoot a little more delay to the left side.  And on the 2nd BGV which is panned to the other side (left) I will do a right favoring delay of a subtly different tempo.
 
This creates a sonic space that is unique and beautiful if you work at it.  Please not again the delays are very short, and very faint, and have little regen in this scenario.
 
Sending all the tracks varying amounts to a single delay on a bus creates a completely different sort of sonic space which also might be legit for a particular goal, and I do sometimes use this method as well.
 
I agree that using lots of different delays can mud up the space if you're not intentional, but in a way what we are doing with many different delay timings is creating a rudimentary and simple reverb.  Especially with Sonitus which has the genius diffusion control.  But we are taking control over the placement of different sources in this pseudo reverb field.
 
If you like I can upload some songs that exemplify some of these types of things.  And if you're ever rolling through Dallas you ought to stop by the studio.

there is no laws but keep in mind by putting a delay after the reverb you are delaying all the relfections, where as if you did it the other way around your reverb is only capturing the delayed sounds. sometimes less mud/confusion. not always but I typically keep the delay before the verb
 if I were to experiment like that, other wise I use buses.
School busses. :-)

Do you send to the reverb from the vocal track - or from the delay bus..? -