Well....we're talking about our own stuff, right?
OK...so like when I'm writing a tune, I probably play and sing it a hindered times through before it's finished.
So when I go to actually track vocals, 3-5 takes are pretty much it....though I usually do at least 1-2 partial passes just the get the mic/pre set, but I'm not really trying too hard....so that's why I say that while the first full tracking pass is pretty good, it tends not to be the best, and by the 3rd-4th pass I have what I want....then I'll do one more safety take.
I like to just run through the takes 1-2-3-4-5 in rapid succesion....as quick as my tape deck can rewind. That way they are pretty close in sound/feel.
Any time I've comp'd vocals from say, 5 takes...Take 1 ends up getting the least use for the comp. It's always Take 3 that becomes the "base vocal" of the final track, and the others are used for the spot comps/fixes. That's just how it tends to work out for me.
I'm sure other people are different AFA where their voice is at it's best. Like if you're the type who belts/screams out songs at full-tilt....you're probably not going to have much left after the 3rd take, or at least it will not be the same as those first couple of passes.
I'm not an exceptional singer...but from all the years of recording, I know how to work the mic and how to listen to the take WHILE I'm singing...so I'm conscious of where/what is happening and what I need to adjust on the next pass...etc...so I'm effectively "comping" as I'm doing the takes.
I'd much rather work with an exceptional singer...and then I can just sit back and do the "engineer" thing.