Everything Dietz said is right. 😃
I think that clamping those presets over your entire mixes is probably doing your music more harm than good. Applying an "added presence" preset over a whole dense mix with lots of instruments, where no careful balancing and EQing has been done is most certainly going to end up being a painful experience. You don't want to excite, "hype" - or saturate or "fatten up" - an untreated mess of frequencies.
I would suggest concentrating much more on detailed and careful EQing of your tracks and groups. EQ will do much, much more for your mixes - in terms of clarity, power and perceived loudness - than dynamic processing will.
Most instruments will sound better and more the way you really want them to if you apply some subtractive EQ to them. The trick is to find out what frequencies you can carve out, and how much, to make the instrument sound just like it does on its own, only better. It's like digging up a gem from the soil and removing the dirt from the surface. Every instrument has those areas! It's like spring cleaning. After you're done with it, you realize how much better if feels to sit in the house. 😊
If you do this with all your tracks, it adds up tremendously! Remember that making things sound better, for the bigger part, is taking stuff away, not adding stuff. If you don't know where to start, try sweeping through the frequency range of a track - grab a single EQ band, set the "Q" value to something narrow (10 or so), push the band by 12 or ever 24 dB, and then move it across the spectrum. You'll notice that you will come across several resonances that are really really ugly. Remember those and try doing the opposite - does the instrument sound better if you reduce this range? How much does it need? -3 dB, -6 dB? At which point do you feel that you've taken away too much?
There truly is no shortcut to this. It's an ability that takes a lot of time to train. I'm learning new things about it all the time, basically with every new mix I attempt. This is really something you should strongly focus on, instead of trying to improve your music with mastering plug-in presets. Concentrate on achieving a sound that comes as close as possible to what you want to hear, relying only on EQ and volume adjustment. It has to sound good at this stage.
The tidier and clearer the mix, the more you can do in terms of compression, saturation, excitement, volume etc. But if there's a lot of litter in your mix, all these tools and their presets often do nothing more than to help the crap float to the surface.
If you tidy up your mix and set the volumes right, everything will sound clearer, tighter and more transparent, you will notice that you can go both wetter and louder and it's still gonna sound good ... added reverb will sound WAY better, more volume will sound more exciting, but not tiresome. This is where you can further enhance the sound with presence, compression, saturation, gentle limiting etc. It will all make so much more sense from there. Basically, you want to make great stuff a bit louder and a bit more exciting. But make sure it's great stuff first! And the most important part of that is getting rid of all the ballast that's always in there, but not really needed.
This is just guessing of course, but judging from the graph, there's an odd bump in the range from 500 Hz and upwards. Why is that? That's an area that often contains a lot of spectral information that we perceive as "muddy". Perhaps take a closer look at what is happening with your instruments in that range.
And then there's another noticeable bump at around 2k-5k. This could possible correlate to the sharp staccati you mentioned, especially if the dynamics are rather uniform. This area is something that contains "warmth" as well as "bite", but can also be very fatiguing. For me, it's a typical pain-in-the-ass range for high strings, brass (especially at higher dynamics), and oboe. There is almost always something beneficial that can be done at several points here.
