To be honest I think that the H&C arrived way too late to have the impact it deserves.
I was programming my Yamaha FX 550 with decent Shads echoes before I got to know about all this lot and my sound was more than acceptable back then, we're talking early nineties here.
What happened was we all met up here and due to some phenomina were mistakenly railroaded towards what Hank was using regarding pickups, amps and echoes, which in all honesty were no better than many of us already had. All of this was just a cash cow for various people who made gear.
I bought the H&C after I had already been successful making my own eho patches for my Vox Tonelab SE, the Zoom G3 and the Zoom MS-100 BT. In truth those three devices do the job equally as good as the H&C to my ears and I would defy anyone to tell the difference between all of them should there be a blind test on a live gig.
That said, I have recently bought an old early sixties Klemt Echolette and none of them come close to the actual sound that comes from that machine. It's all about opinion, but if it's the recorded sound of the 1960 Hank that you are seeking, none of the digital machines do it. I listen over again to everyones demoes then go back to the records and they are worlds apart.
I now have a sound that I'm happy with which I seem to be able to achieve whether or not I use my Vox AC30, Mesa Boogie, Vox MV-50, Vox Valvetronix VT-30 or Peavey Delta Blues, using my Vox Tonelab SE mostly. The H&C never gets a run out, though I sometimes use my Klemt Echolette if I want to put a big smile on my face.