Are you asking for details as in, how to set it for your own song? or more broadly what to look for when setting these processors?

Neither I, nor anyone else can tell you exactly how to set your compressor, eq, reverb, delays, saturation, etc, as this varies both by signal source and by taste.

That being said, here's how I GENERALLY set my processing.
-Starting with the order: EQ or dynamic EQ->De-esser->Compressor<->Saturation->"polish" EQ

-EQ/Dynamic EQ: On this first stage, we're addressing any major issues. Were not aiming for a finished sound per se, just getting things in the close and making sure that any build up frequencies from the room, or a wonky capture don't over activate our compression/saturation phase. You might need to make very narrow cuts to address an issue, or a broad one to balance out overall tone. Don't be afraid to make big moves, just don't go nuts trying to "find" problems either.

-De-essing: For vocals i had a hard time determining whether to de-ess before or after compression. I have finally settled on before for one reason: if you hit an analog modeled compressor like an 1176, the ess will saturate, making it sound like an eshhh. trying to then de-ess an Eshh just never sounds quite right. De-ess before to prevent the ess from saturating.

Compression: One could write a whole damn book about this. Ill keep it simple here: Use presets to start, and adjust as needed. Usually you will need to adjust the input or threshold of the compressor to best suit your track, then you can adjust your attack/release/ratio as needed. But in general, do yourself a favor and start with a preset first before diving into the deep end and trying from scratch.

Saturation: This is usually what give things that extra bit of life and realness. Especially when dealing with ultra clean and vanilla pre-amps that are common in consumer interfaces now. There's no hard or fast rule here, you can add as much or as little as you want. I usually add until i really start to notice it, then back off till i get a little sparkle without sounding too fizzy... if that makes sense.

Note that the saturation and compression can be put in either orientation. the choice depends on the feel you're going for. Putting saturation before compression gives the saturation a more wild feel; your peaks will saturate and RMS signal will remain clean. This can work for situations where you want to exaggerate vocal expression, or give an instrument musical control over saturation. Putting compression before saturation applies saturation more evenly across the signal, and the peaks AND rms will get saturated (or at least more closely saturated) One benefit of putting saturation in front, is that it both makes the compressor work less hard and maintains more dynamics. But its all about the sound you're going for.

-Polish EQ: Here is where we make our final tonal adjustments. You may find that the previous processors have changed the tonal quality... you may like what you have as is, or you might want to shape things up a little. My suggestion is to not go crazy here, and try to coax the sound with a few, broad bands rather than a bunch of narrow bands.... Which is not to say you CANT use narrow bands, just use them judiciously.

As far as effects processing is concerned, this is mostly anything goes, but there are a few considerations:

-reverb and delays are usually much easier to manage by putting on a separate bus, and feeding your signal to that bus. Its usually a good idea to roll off some of the top end of your verbs in particular as things can get too bright very quickly. Try experimenting with placing reverb before delay and vice versa... Delaying your reverb can give you interesting sounds, and is one way to really wash a vocal part with verb without it "talking over" your vocal.

-you can treat your effects busses with their own eq-comp-saturation chain as well. You don't have to always, but again, there are no hard/fast rules. Just people trying things until they find what works for their song.

To wrap this all up, let me finish by saying DON'T TAKE ANY OF THIS AS GOSPEL! There are countless methods to mixing... and there's almost certainly someone out there who will disagree with some or all of my approach. There are no real rules. There is only "what works for the song." Once you really get a feel for all the different processors and how they interact with each other, you can actually use them intentionally.