Yeah, most people don't consider parallel routing for effects...but I ain't most people. Besides, I've been hooked on the parallel method ever since I got my hands on an Electro-Harmonix TriParallel mixer for stompboxes. Instead of the series result, which can easily result in lots of similarity, parallel opens up a huge pile of possible configurations which don't have a tendency to sound the same. I liked it so much, I built a more complex version for my studio by using a Studio Technologies Model 80 buffered distro amp for splitting and sending, and then a Rane SM26B for the return mixing. So, eight pairs (plus an unbuffered "thru") out, six pairs (seven if I use the stereo bus expander input) in. Utterly effing unbelievable...hell, you could use JUST THAT plus one single stereo audio source to cook up an entire piece all by itself!
As for the envelope followers, here's what's going on with those...
These take an audio input and then derive a gate and trigger from an internal comparator. When the level exceeds your setting, it'll fire a trigger and a gate, and all the while, the actual follower will extract the dynamic info from the signal and put that out as a CV that changes with your input's amplitude. Say, for example, you want the Lubadh to speed up as your external signal gets louder. This is the thing (or things) that does that. Want it to do the opposite direction? Easy...run the envelope outs into two QuadrATT attenuverters, and invert the envelope info. Easy-peasy! These can be a bit touchy when first dealing with them, but once you get a little practice with them, there'll be zero issues, and having that dynamically-related CV signal is something you'll seriously dig.