I think most of the voodoo stems from the peculiarities of various analoge gear, much of it does actually have some unique properties but these can usually be recreated, i can’t remember the name of the unit but for example there was a trick back in the day with a famous EQ/compressor that created a sweet magical curve in the low end that the pros used for kicks but this could be recreated today in a normal EQ yet some pros still just use a simulation of this hardware unit to achieve the effect, i watched a pro on YT he used four different EQs in a session and i thought how stupid but he’s gotten used to these odd features… it’s overkill for sure and definitely not needed but apparently we use what we’ve gotten used to to get the job done.
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Did you try this now? I got a license for free, but honestly, can’t hear anything special…? Maybe just a specific dynamics curve with clever marketing. Gui seems to have been more effort than the actual algorithm. What’s good it has 0 latency, maybe it actually would work on a track instead on master.
No, there is no reason to do so. Mostly I’m still doing the dual mono mode for the rear bus technique natively (just like shown in my template), but from time to time I’m also using the one you’ve mentioned here:
This does the job, no need to check out anything else. The most important point is a transparent sound, and that’s what TDR Kotelnikov is delivering. Just like the native method. 
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Indeed, that one sounds great, thanks for reminding me 