I have this same reverb unit and i love it. I think I first read about it in Tape Op as a piece that Ken Stringfellow from the Posies raved about in his interview.
I've owned several other spring reverbs over the past 15 years and this is the only one I kept. It has a super nice grain to it's tails.
as far as the OG question goes - I think it's really important to
have gear set up and integrated as simply as possible otherwise it just sits on the shelf.
If you can have these pieces set up and patched in and quickly a/b when you start tracking something, you're way more likely to start using it again more often.
For my workflow, having a board that I monitor off of - with auxes and effects patched in - is key to getting the most out of effects units and pedals. I print a lot of effects as i go and the sound that the artist hears helps to inspire their performances (rather than saying "this will sound great when we add effects blah blah") and it makes my sounds a little more unique when I use the pedals and stuff rather than a plug in that everybody uses a lot and is more recognizable.
Also I have certain chains connected most of the time and a lot of the gear has bypasses so I can easily pop it out of the chain if it's not needed. Certain gear just goes well together and I find it helpful to keep certain mics into certain pres, followed by specific eqs or compressors. It makes it so much faster to go with the flow of ideas in the moment.
I've parted with some nice gear in the last few years - dyna-mite compressors, sound workshop spring, silvertone electric, sg - that just wasn't getting used and put that money into stuff i use all the time (mellotron, some new pedals, different mics/compressors etc)
For me it's not so much whether the piece is good or not - it's "do i use it?" - if not, I try to move it along and replace with stuff that I will use.