The Prochannel is very good and a nice way to work.  The 1176 is good, the EQ outstanding.  I'm partial to the G-setting these days (I think that is correct - the last one of the choices anyway).  The SSL bus comp is outstanding, too, a really great comp - sounds like what a buss comp should.
 
As has been pointed out, PerfectSpace is good, esp. if you get more impulses for real spaces and Plates.  I'm really blown away by Breverb, however.  It does some nice tricks.  I used mostly PS for the last few years since it was the best reverb in SONAR.  Breverb has me re-evaluating and I use it a lot.
 
If you are just starting w/ SONAR, pick one thing and stick to it.  I'd suggest PC and Breverb.  Learn to use those and then start adding other effects.  Tho the sonitus comp is really nice since it has a comp chart built in that lets you see the knee.  Use that on the channel to learn about compression, SSL on the buss.
 
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I predominately use Pro Channel, Sonitus, Blue Tubes, T-Racks, the Melda suite & CSR for reverbs
 
Outside of that lot I can't think of anything I need though I've got a few which get used occasionally, such as some modelled Pultec EQ's

Pro Channel has one me over.
When I upgraded to X1 I liked much but felt Pro Channel was making me a cookie cutter mixer.
Anyway.
Now wirth X3 the zoom out EQ is perfect.
I am finding I need fewer ext plugs with the X series.

I agree with Craig about the Sonitus plugs. Didn't mean to sound like I was slamming them. They still hold up well in any kind of situation. It's just that moving along to the options in X3 has forced me to take a look at the newer stock of tools. The Sonitus reverb and compressor still find their way into a project here and there.

I'm starting to like Nectar 2 (purchased the full version) for vocal presets.
I still love Sonatas eq and reverb. I also track with Universal Audio realverb.
I feel like the powered plugs take pressure off the CPU for tracking but that could be psychosomatic...
Mastering favorite Sony Sound Forge Pro.
Oh and I like the UA Pultec Pro.

WSS

surgical:
eq = dmg equality/equick, 112db redline eq
reverb = 112db redline reverb
compressor = cytomic the glue, fabfilter pro-c, psp old timer
delay = fabfilter timeless2
limiter = voxengo elephant/wavearts finalplug
channel strip = wavearts trackplug/sknote strip/bus/voxengo voxformer
honourable mention = toneboosters' stuff
 
creative:
psp eq's
audio damage stuff!!!
camel stuff
 

Thanks to all for the feedback--lots of good stuff here! I spent time over the last few days doing some research based on your suggestions.

I'm not sure what the fuss over Pro Channel is all about, though. I did an Equalizer comparison and played with the Sonitus EQ, the LP-64 EQ, and the Pro Channel EQ. I liked the LP-64 the best and the PC the least. Admittedly, I'm not familiar with every EQ feature and I don't claim to have golden ears, so this is mostly based on the UI. Is there something about the features or the sound quality that make it a cut above, or do folks just get turned on by the convenience factor? (I don't find it particularly burdensome to add an effect the traditional way.)

nick8004
Thanks to all for the feedback--lots of good stuff here! I spent time over the last few days doing some research based on your suggestions.

I'm not sure what the fuss over Pro Channel is all about, though. I did an Equalizer comparison and played with the Sonitus EQ, the LP-64 EQ, and the Pro Channel EQ. I liked the LP-64 the best and the PC the least. Admittedly, I'm not familiar with every EQ feature and I don't claim to have golden ears, so this is mostly based on the UI. Is there something about the features or the sound quality that make it a cut above, or do folks just get turned on by the convenience factor? (I don't find it particularly burdensome to add an effect the traditional way.)

 
The downside of liking the LP-64 is that it is not practical as a go to EQ for most situations since it is designed as a mastering EQ.  It is more processor intensive than the others.  The pro channel EQ takes a nice leap in X3.  In the meantime, if none of the included EQ's work for you, there are lots of third party ones, including some nice freebies.
 
I use the PC (quadvurve eq) for most track EQ functions.  For me it is a matter of convenience since the built-in analyzer is very useful. Before X3 I used to use the mequalizer bundled in the melda productions free bundle because it too had the analyzer built in or the sonitus combined with SPAN.

The Quadcurve was a bit fiddly to set up prior to X3, but now we've got the flyout that many users wanted, it's a dream to use.

Nick,
 
a lot of the prochannel is convenience, since the effects are locked onto that channel.  W/ non-PC effects, say, EQ, you end up having a lot of EQ windows floating around which is a problem if you use the same one.  Or you can dock 64-bit effects but then you have to scroll through those selections one by one (something that Cake needs to change so you can skip from beginning to end). With PC, you have all your effects one the channel you are working on at the time.  Once you get beyond 8-10 tracks it is much easier not to have to cycle  through floating effects.
 
All the LP stuff (and PC) also induce latency, so if you have even one active you can't do overdubs w/o tracking it down and turning it off.  That may or may not be a problem w/ your work flow if you never start mixing and then do an overdub or add a new line, but if you do ...
 
If you like the LP EQ you'll probably find the Sonitus EQ good, or the "Pure" setting on the PC EQ.  You'll get much of the same "sound" (or lack of it) as the LP w/o the cpu usage or latency.  And that is what mixing is all about - finding the tools that match your ear and expectations.  While it is nice to talk techniques, nobody can tell you what sounds good - you have to decide that for yourself.  It is art, not science (tho understanding the science behind sound is very helpful).  You hear things one way, and others differently, and it is impossible to say one taste is better than someone else's.  There are accepted "sounds" in a genré that are expected to be there, how you get there is your choice.  Otherwise you are just painting by the numbers.
 
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