First off, I love the Spring Reverb and I love the Tube Delay. They are great for creating interesting textures. I've been brought up on reggae music and that type of sound has been with me throughout my entire career. Both a nasty old delay and a spring reverb is absolutely crucial and essential effects when you work with reggae, and a spring reverb was also very much part of the trademark sound we created on Boy George's voice when I did Culture Club. And even then in the 80's when the Lexicon reverbs became the big thing, I found that mixing in the odd bit of spring on a couple of sound sources added an extra dimension to the mix.
And I love the giant Summit Audio Grand Channel! I have the hardware version of the limiter, and I was so impressed listening to your plug-in, because it really is incredible. The limiter is something I literally use every day. It's probably worth pointing out that the Summit Audio TLA-100A Compressor isn't just an LA-2A. It's good on the same type of jobs, but it's a more modern concept and has a different sound and feel to it. The Summit Audio EQF-100 Full Range Equalizer is just such a nice way to get a more expensive sound out of things.
Finally, I chose the FET Compressor because FET compressors were such a big part of the mid to late 1970's sound. A lot of younger people seem to think it was all about tubes, but when I entered the recording industry in 1975, most of the tube equipment from the 60's had reached the end of it's first cycle of life and the new, modern field effect transistor-based equipment came in as a fresh breath of air. Not least the FET compressors changed the game, they had so much faster attack and were a lot less noisy than the tube equipment that had been used up until then. It's great to have a fast FET compressor as a compliment to a slower and softer tube type of compressor.