How do you order your PC plugins?

That's a great question!  Looking forward to responses on this.
 
In my scenario, I almost always have at least one FX Chain module in my ProChannel.  That's because I use the ProChannel for my entire FX signal flow and I don't use the regular FX bin.
 
I do a lot of different things.  One thing I experiment with that I read from Craig Anderton was the idea of EQing before going into a compressor, and then having another EQ later in the signal chain to do more adjustments.
 
Which is a contributing reason I use the FX Chain module.  Even when I use the Quad Curve EQ in the ProChannel it's likely I will use another EQ somewhere else in the signal flow (if I'm really working on a particular track to get it right).

You can really do both but it's more common to EQ after compression. The idea being that a compressor brings up the quieter part of the sound so you're essentially undoing some of your EQing. Personally I like to at least High Pass before compression so you'd need two EQs. Unfortunately you can't use two Quad Curve EQs. But as was mentioned, you can create an FX chain to add another EQ.

There really are not many fixed rules otherwise. I suppose I would put console emulation last (which it is by default) and tape emulation right before it. But if you know what each effect does, a case can be made for pretty much any order.

Sanderxpander
You can really do both but it's more common to EQ after compression.

I guess I was thinking of the limiter more for protection than for compression.  If you don't have a limiter last, aren't you concerned about some transients clipping?

Bristol_Jonesey
I normally filter the signal before going into a compressor, usually the Sonitus EQ, then use the Quad Curve after EQ for tonal shaping.
 
This way the compressor is only reacting to a narrower range of frequencies and will not trigger due to excessive low frequencies - unless that's what I want of course in which case I'll do all my EQ after compressing.

I do something very similar. I use FabFilter Pro-Q 2 EQ before I compress (using iZotope Dynamics). To set up the EQ, I use their feature that let's you listen to sound that is being filtered out, first on a low cut, and then for the high cut to insure that only the sound you want to pass is not filtered, just any spurious stuff that doesn't add anything. The low/high cuts are set up for 96db/octave so it's like a brick wall.
Then after the iZotope Dynamics, I use another FabFilter Pro-Q 2 to perform tonal shaping.  Finally using iZotope Insight to monitor peak/rms levels and  Loudness Units I use the Concrete Limiter in combination with the Dynamics to get the correct levels (plus sounding good). I also add any effect plug-ins suitable for the sound being processed.
 
Walt

 
The standard method is comp followed by EQ. 
 
One of the tricks from the old analog days and later is doing some of your shaping as you record - usually compression.  If I know who I'm recording I usually do this since I know what I do to them for mixing.  One of the EQs I do use going in is the low filter.  My RND channel strip has a low pass.  On vocals I up to the max - 100 Hz.  Esp. with females, there ain't nothing going on down there but noise and thumps.  And here at home I only have one LDC so I up the high shelf (+3 dB or so above 8-9 KHz for air) and use the built-in de-esser since I've had problems w/ sibilance build-up when using compression.  Guitars, the Low cut is set lower, maybe 50 Hz so I don't gut any meat.  Compression almost always, but just 1.5 dB to 2, just enough to firm up the sound and hold down any peaks.  The recording looks a lot more manageable and guess what?  It is during mixing. But this is for people and equipment I know.  If it is something/body new I back off all these settings a bit.
 
Having a controlled capture really helps the mixing.  Then it is a little more compression - for instruments the PC 1176, bass and vox the CA-2A.  The PC EQ is most often used for a little shaping, or for vox the softube focusing EQ.  I'll usually have a guitar, drum and backing vox buss w/ the PC SSL buss comp on it.  The more I use that one the more I think it is the best comp of the PC bunch, and maybe of all soft comps I've tried.  It is specialized, but knocks the sonic ball out of the park if set right.  Two leadish guitars panned opposite channels of the buss, slap that comp on and it sounds like a record if everything else is right.  Beggar's Banquet here we come.
 
As far as I can tell the Console Emulator and saturation effects and all that stuff helps if you don't use transformers during capture.  That is what it is emulating, and a lot of superb electronics.  I have that when I capture, so I don't use it much.  I did have a ZZ Top type song I recorded for a friend and used the console Emulator on everything - for some reason the song sounded too "clean" for me and the CE did the job during mixing.  And I've used it on a few other tracks but it just seems to cloud up my sound.  I think if I didn't have all transformer inputs I would use it more, but as it is I find it more of a red-headed step child.
 
@
 

Great post AT 

vanceen
I always put the Console Emulator at the top, whether channel or bus.

I always put the coffee mug on top because I need quick access to it at all times ...
 
Apart from that I fully agree with AT ... some real analog on the way into the DAW (often) does magic and requires fewer knobs to be twisted at mix-down ...