OK I agree certainly you can compress a buss, I do this sometimes, but  what I was getting at is guitar effect type compression ( stomp box)  which is sort of part of the guitars overall tone. I added a line to my above original post at the bottom which covers this.. Rules are made to be broken, experimenting is fun too.  

It would be helpful to know what type of plugin the Op wants to add to his tracks
 
This way a more definitive answer would be forthcoming.

^^
I wouldn't suggest there isn't any definitive answer :), art is art. I would suggest it depends more on what the OP is trying to achieve. Pretty much all the basic options have been covered in this thread imho so he can try them all out and cherry pick what he needs. He could use all of them at once if he decided !!

I understood what Johnny was saying. that's how I Eq and Compress my guitars. I do use the Waves SSL bus compressor on my Git Bus but glue ?
There is already too much glue these days. Glue on the tracks, Glue on the buses, Glue on the master bus then more Glue in the mastering stages.
Glue can be helpful but it can also glop everything in to one pile of unrecognizable garbage with no dynamics.

Thanks for the replies.
First of all my guitar tracks are all clean the plugin I was going to use would be
Isotope neutron the light version as I want to try and use a small number of plugins and this does
EQ and compression.

Not because of computer restrictions but simply because it's easier to keep track of them.

I suppose I could drag all the guitar parts onto 1 track and then plugins would not be a problem.

I'll try various things tomorrow.

asimmd
Thanks for the replies.
First of all my guitar tracks are all clean the plugin I was going to use would be
Isotope neutron the light version as I want to try and use a small number of plugins and this does
EQ and compression.

Not because of computer restrictions but simply because it's easier to keep track of them.

I suppose I could drag all the guitar parts onto 1 track and then plugins would not be a problem.

I'll try various things tomorrow.

I would never consider doing that as it's so easy to paint yourself into a corner and you have many other options, as suggested above.
For EQ you would likely want to EQ them separately anyway - if every track had the same curve you run the risk of frequency masking with no scope for carving out their own space. Result - mush.
Similarly for compression - you'll get a much better result to compress individual tracks.
You can easily route them all to a guitar bus and compress that as well to gel them together.

With Neutron Advanced the selling point is that you can have individual plugins and EQ to reduce overhead if the rest of the functionality is not required. That would be the way to go.
 
IMHO Neutron really is designed to be on every track, there is a setting to reduce overhead somewhere. Neutron is really a mixing tool not that great to use whilst recording unless you have a load of power.
 
You may want to try other EQ/compression plugins with less overhead if this is a problem.

Regardless do what is right for you, there are no rules.

chuckebaby
I understood what Johnny was saying. that's how I Eq and Compress my guitars. I do use the Waves SSL bus compressor on my Git Bus but glue ?
There is already too much glue these days. Glue on the tracks, Glue on the buses, Glue on the master bus then more Glue in the mastering stages.
Glue can be helpful but it can also glop everything in to one pile of unrecognizable garbage with no dynamics.

Not necessarily. Firstly, glue (or bus) compression shouldn't really affect your dynamics in any negative way if done correctly. Typically you'd set a long attack like 30ms or so to make sure all of the transients come through, and you're using a fast release. Secondly, I think the idea of using different stages of glue compression (or any compression) is that you divide your gain reduction between multiple compressors instead of having one compressor do all the heavy lifting. 1-2dB of gain reduction on the mix buses, and 1-2dB of gain reduction on the master bus. Instead of having 3-4dB of gain reduction on the master bus. No need to sacrifice your dynamics. 

I like your idea James. I find this is what I've been doing since Pro Channel offered us a simple way to add EQ & Compression to every track.  I put them there and some barley show any action but in my mind it keeps an eye on that track.  I also hi Pass everything. 
I tend to record audio hot and have a certain Velocity I aim for for midi parts, example Bass is always 112 Vel, and the midi track at it's default of 107 level. So everything starts life pretty loud. If I find a peak I'll deal with it microscopically using envelopes or rendering gain.  Then I'm in a ballpark and just start pulling some faders down a bit to mix. 
But I also will use the same tools on my sub busses with slightly different settings. All fancy stuff I do at the sub buss level. 
I only use the BT Brickwall on the Master buss I set at - .4db which is a bit dangerous but seems to work. 
All my songs come out at -.4db peak so it then it's a matter of using Wave lab to check the RMS average. If they come out quiet still say, -16 I'll apply +2db using the Steinberg Loudness Maximizer. You can only add about +4 with that tool. I aim for Average -14db. RMS

Conversation is a tough one. Because we all work in different ways and different music.
What might be common to one person is not for another.
for example, myself personally, would never put and kind of compressor, brickwall limiter on the master bus itself.
I know some that do and their mixes sound great. However some will say "Putting a limiter or compression on your master bus is a big no no".
 
The things and people in music who have stood out the most in music production are the ones who have chosen to be different and done things in a different way Vs. the cookie cutter production.
I choose automation over compression 90% of the time because even a greatly set compressor will still color the sound. But that's only my preference.