Using multiple reverbs and delays is an actual requirement for me. I work in a hybrid environment where all of the input and most of the mixdown is actually performed in the analog domain....so I have a limited supply of effect processors, and in general don't like the "pushed up against the front wall" sound that I seem to be unable to avoid when I'm using the included effects in my DAW, which is now Reason10 (I'm a masochist I guess!)
So, since I'm in a phase of making 80's inspired tracks with some modern elements, I'm using a lot of my Lexicon 480L and PCM 70. A sleeper for stuff like wood rooms, etc the Sony HR MP5, an old TC 2290 (that is going to need some TLC pretty soon) and an Eventide H3000....add to that my pedals: 2 Eventide H9s, a Strymon ElCapistan, a Strymon Deco, a Strymon Timeline and an Ibanez SC10 Chorus from the late 80s....last but not at all least, I have the Waveboy "Audio In" disk for my old EPS 16+ sampler, which allows a mono in/stereo out effect, basically giving me one last rack effect.
My compressor section is even more limited, a pair of Warm Audio WA2As, a Warm Audio WA76, an Amek "channel in a box", along with a very early production model Neve Portico 5012 that I love to run mixes through as well as use to drive the Neve output transformers into non-linearity and the WA2A's tubes into saturation.
I have a cassette deck in my rack as well, an old Tascam 3-head unit, and I like to take the output of (specifically) reverb units and push them through tape, where you can play with record levels, bias, NR (on for record/off for playback, vice versa, etc).
The short story here is that I have a limited amount of effects and colors to create my mixes, and I will often combine them, usually in parallel, but sometimes with a bit (20% or so) of series send in the mix. Using these limited effects and colors creates a cohesive whole that really works for the style of work I've been into for the past 18 months or so.