Just to fully understand everything you are asking:

1-You first mention that you have a problem concerning 6 trks getting mixed down to a stereo bus?
2-Then you mention you can get by with that.
(not following that part)
3-Not familiar w/ audition, but usually on most apps you apply a plug-in on an insert of a particular trk. In your case your 2-trk stereo master.
4-Or are you hoping to add outboard effects instead of keeping it in the box?

Answers to these questions will help us to better answer and steer you in the correct direction.

I mean I can get by with it, meaning it doesn't sound bad with it being mixed down to a stereo bus, but my problem is I'm not able to manipulate any of the separate drum tracks (bass drum, overheads, snare, etc) when mixing with other instrument tracks.

And yeah, I mean applying effects to the track as it comes in, as it's being recorded. I don't have any outboard gear.

Lose all the mics except the kick and one overhead. Pan them left and right: you now have full control over every mic...

I'm not really worried about controling every mic just yet, I would buy an interface if I wanted that, but I don't have the money right now.

What I need help on is being able to add processing to the entire track, the L/R drum mix, without it sounding crappy.

How would I be able to add compression and stuff effectively to the entire track?

What you're not understanding is, most software does not provide for real-time recording with simultaneous real-time effects being printed to a track/tracks. Some folks get special ancillary cards for desktop computers that feature real-time DSP capabilities. But it's still not quite like having hardware devices. All processing, whether it's hardware, going in or, through software after recording, all occurs after initial pre-amplification. So unless you happen to have numerous compressors/limiters/Gates patched into your mixer so as to create a more refined drum mix? You really can't accomplish what you want to do once everything is mashed into a stereo mix other than overall stereo compression/limiting. Which you would be doing after recording. Not during. I mean, what compelled you to purchase this mixer with only a USB stereo output? You're doing live television? So as suggested, one microphone on bass drum, panned left & your other microphones panned right. Then you have control. Reel control. The kind of control every recording engineer has to have. I like my iced tea unsweetened & my audio sweetened. Not the other way around. How about some sugar on that hamburger? No?

Garlic on cheesecake?
Ms. Remy Ann David

I get what you're saying. But after I have the track recorded, would I be able to add compression effectively to make it sound better? That's really all I need to know

Apply a compressor with the same settings to each track.

-Or-

Save the cpu and apply the compression on a stereo bus.

gray5547 wrote: I get what you're saying. But after I have the track recorded, would I be able to add compression effectively to make it sound better? That's really all I need to know

Pick one track, lets say the left, and solo it (or mute the right). Insert your compressor patch on the left track. While your listening to that one track, try starting with a 4:1 ratio and then play with the attack, release and threshhold until it sounds better. Then apply the same settings to the right track. Listen. If it sounds better, keep it. If not, rinse and repeat.