Depends a lot on how you work and create. If you have the "throw shit on the wall and see what sticks" approach, I can imagine you'd drown in your endless options pretty quickly. I've done that a lot, and it's not the way to go for everybody, but for example Ott says he does this mostly. On the other hand, if you always have a clear image in your head on how you want your music to sound, and know which tools to use to achieve it, I can't imagine an abundance in tools would necessarily be a hindrance.
I do something of a mixture of these two (as I would guess most do). Mostly I'm inspired by someone else's work, and know what I want my track to sound like, and sometimes I just play around and stumble upon something I will maybe use. Either way, I like to keep my setup quite simple: I only use my samples (of course including my recordings), Sytrus, Pianoteq 5 Stage (for some good sounding pianos), Miroslav Philharmonik (for flutes, choirs, etc.), and FL's default mixer effects. Oh and an Alesis VI61. I bought Absynth three months ago, and I can't say I would've used it more than once or twice, since I know Sytrus so well. Frankly, I think it's a piece of shit (well not completely, but I find Sytrus a lot easier to improvise something on). Bought it on a whim and as a victim of their marketing with some gorgeous pads..
When I see some peoples' setups here, I can't but wonder what the hell they need all that stuff for, but I know they are a lot more skilled and experienced than I am, and they probably have some sort of reason for owning all that stuff. Excluding you JUAN PAULINO. All your "tracks" sound the same. You can't even fit your stuff on your table. Get rid of some of it, for fuck's sake.
Get a basic set of tools, learn them inside out, and you'll be fine. If you're on FL, just buy a couple of drum packs for your purposes, and you're set. Learn Sytrus well. I'm not saying that some more tools couldn't help you, but it's pretty easy to step into that trap where you think the next purchase will take you closer to what you want to sound like, but that's very often not the case. Practise, trial and error, and working with your mind in it is the way to go.
An "identifiable and well-crafted" sound comes from something else than having constraints, and I'm sure many people here would argue you'll never develop a sound of your own. I would say so, unless you actually make making music and developing your own sound a conscious effort and do it daily.
It's a "cliché", and beaten to death to say that it's not the tool, but the person using the tool.. But it's a cliché for a reason; clichés often capture something so well-known and obvious that they become a cliché.
So what I'm saying is don't go the ridiculous "GAS" way, but just learn your tools well. If you ever reach the point where you're technically held back by some of your stock tools, go for it and buy something that'll help you, but you've got a long way to go before that point, I'm quite sure.