Yeah Stevie, the dry/wet control is effective in crafting reverb to your needs (how ever versatile you need that reverb to be).

Without writing a thesis, that wet/dry control (Still all too important as a parallel wet/dry mix) might also contain from its reverb unit many other reverberant character, such as room size (obviously), or surface (absorption), reflectivity (waves bouncing off surfaces), etc.

So there's a few ways to arrive at what you need. Just my workflow, I like most everything on one send, as well (for continuity) but I'll create a 2nd send, at times, if that need arises like a subtle separation of one sound to the soundstage.

My only point as you are well on your way to reverb heaven is experiment. Post fade will always be proportional to the main, and parallel effect's send (if the effect send is also prefade). At times, a cool alternative effect that is handy, especially in film production is having one instruments reverb taper off at post fade, so that it purposely doesn't fade at the same rate. [One long decay out of nowhere] Not so great when attempting a real orchestral soundstage, because such a theater environment is pretty uniform with reflections, size, etc.

Try different reverb mixing paths, when the mood presents itself.

Have fun!!