I use both plug-ins and real analog processing. Nothing I've found will give the sweet airy top end that an analog (tube especially) EQ can, a Massive Passive in my case. In the pre-analog path I'll often use a Waves Ren De-Esser in the digital if the sibiliance is bugging me. Also, I get TONS of use with the Waves Mastering Linear Phase multiband comp. Really, using that linear MB to control overly dynamic problems early in the path before the analog gear really allows me to use my Vari-Mu more gently and effectively. And sometimes a more precision or surgical digital EQ can help me handle real specific issues that my Massive Passive can't. Then after the analog path has come back in, I'll monitor (and eventually print) with a digital peak limiter:
Flux Pure Limiter for more pristine stuff and fine tweaking. The Flux stuff is real nice to my ears. I demoed their EQ and liked it a lot.
L2 still treats me just fine for stuff that's not too loud. A solid workhorse plug-in.
Event Horizon for loud rap, hip-hop, and loud beat-heavy rock actually set as a peak clipper. Try it! Great tool for high impact aggressive stuff. Less squishy than a limiter. I was surprised to find how incredibly useful this $39 plug-in could be.
But I honestly can't imagine NOT using my analog tube gear as the heart of my mastering path anymore. I've tried all-digital projects and there's just some magic and mojo and organic presence that I can only get with the analog stuff. Maybe I just haven't worked enuf with the really high end digital processing, but analog and tubes are the only way I can roll.
And also, I can't imagine NOT using a digital peak limiter because so much of what I do MUST be at contemporary loudness levels to satisfy the clients. So analog processing and digital peak limiting are quite obviously essential to me.
Brad