First, the 12-saddle bridge is not pre-notched.
That said, there are literally dozens of threads consuming many gigabytes of bandwidth on this issue, including observations by Mr. JH himself on the relative merits of both bridges (he prefers the six-saddle for very valid both engineering and musical reasons). To sum the arguments up as merely traditionalist versus contemporary is oversimplification. Be that as it may, there are two sets of strings which intonate the best on a RIC 12-string with the conventional 6-saddle bridge: the stock factory set and the POTR T-I custom nickel flats set. Both of these sets were designed for the six-saddle bridge.
Another school of thought is that if the tuning is too perfect, you don't get the full chorus-y chime-y effect of a 12-string. Pipe organs actually have a rank called a celeste purposefully tuned a few cents sharp for this very reason: to get a softer complex tone similar to an orchestra violin section.
But the 12-string bridge can take into account all the variations in strings, setups, differences in technique, etc., and is concededly more versatile, especially if obtaining quality strings where a player lives may be an issue, whether from a budgetary or logistical perspective.
And then, there are those who chase tuning perfection as knights chasing a holy grail. But with further study about how a tempered tuning system like frets or keyboards work, it becomes apparent that nothing can be "perfect." It's all a compromise so an instrument can play in any key on any fret up and down the neck.
Finally, I like a little lighter strings on my guitar than the two conventional sets, so I assembled my own set, including a 17-wound or 18-wound 3rd unison G string, of course. The only problem I had on the conventional bridge was with the pair of low E strings. So instead of spending all the $$ on a 12-saddle bridge, I purchased a saddle blank from RIC and custom filed offsets so it would intonate properly on each string of the pair. Much less expensive, and more solid for tone. Of course, if I ever change the brand, model and gauging of strings I use on a regular basis, then I'll have to revisit that issue, but I don't see that happening anytime soon, as I gig almost exclusively on bass rather than guitar for the forseeable future.
That sums up the 12-saddle versus 6-saddle discussion. I'm surprised someone hasn't come out with a 9-saddle bridge: two solid saddles for the unison high E and B string pairs for tone and sustain, a changable saddle for either straight across for wound or offset for plain unison G-third strings, at the player's choice, and individual saddles for each string of the D, A & E pairs. Of course, with all the machining involved, the cost for such a bridge would be "Eight Miles High" at the least!
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I could be wrong. 