Melodyne for pitch and timing correction, 1176 (PC76), Pro Channel EQ, send to a reverb bus. (I usually have three reverb buses: drum, instrument, and vocal.) I often double the lead (by singing it twice or sometimes by using a TC Helicon VoiceWorks Plus) and I pan the two leads at 40% L and 40% R (if they are both sung).
I like Lexicon reverb and I prefer medium hall presets used sparingly. I fell out of love with plate reverb on vocals a few years ago and I don't know why.
If you use Melodyne, be sure to go to the Track Inspector and click POST so the ProChannel comes after the FX Bin; otherwise, the signal in Melodyne will not go through ProChannel and you will just be compressing and EQing the original copy of the vocal which you can't hear when Melodyne is running.
Because of the singers I work with and the way I sing, the PC76 is usually set to the fastest attack, a release of about half a second (e.g., 510ms), a 4:1 or 8:1 ratio, and enough Output so that the volume does not change obviously when you turn the compressor off and on. The input depends on the source signal, but my goal is to get the needle moving around between 0 and -4. If it moves farther, things start to sound less natural (which may be what you want). Sometimes I turn the Wet/Dry to 50% and sometimes I leave it on full. Usually, the farther the needle is moving, the more dry signal I want so things don't sound weird.
The EQ is usually to roll off low frequencies and sometimes to boost or cut around 2.5-3K Hz depending on whether the vocal is indistinct or harsh. A HPF set at about 100hz will get rid of rumble, but it depends on the singer. If you move the frequency too high, the singer will sound thin.
I sometimes use EZMix 2 (like the Wide Vocals setting, or example), but I find the effects too obvious for the style of music I do. They would probably be fine for Rock or Electronica.
My advice: don't do too much to the vocal, although getting it on key and in time is essential.