The big cuts and boosts I was used to making would be influenced by the limiting of the saturation modeling. Years later, when I started demo'ing other SSL-type EQs that model the saturation, I was taken aback. Granted, I started to learn to mix with "clean" EQ's, and I really honed my craft with the Reason SSL, so it's definitely a matter of preference. The amount of headroom available allows for some pretty drastic cuts and boosts, which I find useful. I actually prefer Reason's "clean" version of the SSL. But in general I'm super careful with adding saturation to a bus. It actually seems to widen the mix just a tiny bit (just in stereo left-right mode, nevermind lat-vert mode). For instance, the Puigchild (which I often use with virtually no gain reduction) is just magical with a stereo signal. Of course, this doesn't happen with all plugins. Depending on the plugin or RE and how it treats the stereo signal, sometimes adding even a small amount of saturation to a stereo bus can start fold the mix down ever so slightly. On a side note, lately I've been more in favor of adding saturation to individual mono channels rather than stereo busses. I can do the foundational work I need to do with minimal plugins and REs, then add a few plugins later in the mix to get some grit going. The great thing about Reason's SSL is that those features are there on every channel by default, and they're kind to the CPU. Their version has a GRIT button that "will reproduce the slightly increased 2nd harmonic distortion of an out of calibration unit, a behavior favored by many engineers for its more characterful definitely enjoy adding some dirt and warmth to the mix! My logic is that that dirt and warmth doesn't need to come from my most basic compressors and EQs.
That's why my favorite SSL bus comp is IK's. Yeah, I was gonna say that digital is already too clean and pristine, so I want the noise and the saturation and the added harmonics.
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