Dave Hill's plug ins could very well be an excellent starting point... and after that, create a solid relationship with a quality vendor who actually has your best interest at heart [vs. their highest "commission" point at heart]. Believe it or not, its OK to ask a potential vendor if they're working on salary / hourly or commission. If they're working on commission, then [in my not so humble opinion] they are working for a 'dual master'... you, and them. If they're working on salary / hourly then they're working for you [yes, I know this is an over simplification].
Back in the day when the mighty analog dinosaurs ruled the earth, the goal was to get everything as clean as possible. As track counts grew, the various distortions that were so lovely and musical on these original analog beasts began to become something of an impediment as stacking these same distortions upon each other began to create a "haze" to the overall presentation [what was fine for 8 tracks didn't really work at 46 tracks]. From my experience the little distortions caused by some of this hardware can very often assist putting a sound into a neat little hole where it can exist in happiness and be a major contributor to the overall sound of the music at hand... which leads directly to having a balanced and varied hardware pallet from which to paint the sonic picture of the music.
The only way to define that pallet of tools is to audition the hardware you choose, on your schedule, for a good month or so. In my opinion, you need to find a vendor that is willing to work with you like this... letting you try for a good / serious period before you make your final commitment to the hardware acquisition. This is where the solid relationship with an excellent vendor comes in... because as you try things, and return things, a good vendor will start to learn where your taste in sonic landscapes leads you, and will hopefully be able to suggest equipment for you to try that takes you in that direction.
I hope this is of some assistance.
Peace