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To your curisoity on my approach: I do quite a bit of context-dependent post-processing on spatialized signals during both the mixing and mastering stages.  Off the top of my head: 

• Shaping/cleaning transients on percussive elements so they cut through the mix better
• Bringing air back to vocals (usually a high shelf somewhere around the 10k range) 
• Just...so much low end processing. I'm always messing with things <150 hz

All of this will in some way ruin the illusion, but it often leads to a mix I enjoy listening to more. I tend to sacrifice realism for a more modern sound, which is probably why both Fox and I find some of the frequency shaping a little annoying.

Your process is probably closer to a more pure, realistic sound. I'd be interested to hear why you have a preference for NeoVerb over, let's say a traditional convolution verb sometime.

If I missed addressing something in this thread,  Hit me up on Discord and I'll be happy to chat about this topic anytime,

Nerd rant ahead:

I think mono inputs are easier to control, but you can of course find stereo input workarounds by splitting the L/R channels and spacing them apart on the DearVR XY interface. The coolest way is of course multi-miking your performance with different distances from the instrument, then recreating the setup in DearVR to get some sweet 3D richness and texture. 

Having a reverb on the master after spacializing everything won't have the same physical effect  as dialing it in for each individual element using DearVR.  Imagining a virtual space, elements further away take longer to reach your ears (reminder: they won't reach both ears at the same time), and elements closer to your ears would in turn take longer to come back after each bounce.  These would be pre-delays, decay/delay times on regular reverb controls that you would have to dial in for each element - butDearVR goes further to EQ and delay that reverb signal to account for the physical head and ears - these functions can get messed up by basically any processing if you apply them after.  That's what I meant in the previous reply about the "crunching" post-processing can do to your signal.

TL:DR  - If it sounds good, it doesn't matter - but if you really want the listener to feel like they are physically "there" despite the fragility of the ilusion, It's gotta be purely in the DearVR ecosystem, including using their reverb models.

Mixing with any binauralizer is kind of a pain because of the internal EQ process and the fragility of the illusion. My personal best results have come from collapsing the input to mono, and not using DearVR's built-in reverb (Reflections Only). Then, sending the final result to a convolution reverb send with all your other instruments. It only sounds vaguely "real", but frankly all your Master bus effects will crunch the spatialization anyway.
I'm still a big fan of the sound-stage effect despite all the work.

Cool submission, very different scale and atmosphere from your other works!

Yeah, you've got the sauce. Your sound design is so technical and delicate. Mix is appropriate and phenomenal. Wow.

I think this entry that had the most vivid musical narrative in the jam. I could imagine each plot beat happening as each track played. Wonderful work. 

I need to hear this live.  Excellence.

Absolutely gorgeous.  Bravo

One of the most interesting tracks I've heard in a jam.  Cool stuff

1:18 onwards has got to be the most pocket-y, grooviest stuff I've heard in a jam. Super refreshing, and I hope to hear more of your beats here or elsewhere in the future

Easily my favourite submission. Every sound choice feels deliberate, cohesive, and doesn't overstay it's welcome.  I will keep coming back to listen to this.  

Super well recorded, love the textures of the instrument coming through!

Would have loved to hear a tiny bit of extra high frequency content, plus everything felt a tiny bit too condensed in the lows.  Perhaps less notes and maybe more stereo information.  

The motif of the climb is very vivid!

Would have loved to hear more variation in the arpeggios, especially near the latter half of the ascent, where it starts to bunch up a bit sonically.  

I can tell that a lot of care was put into arranging these elements! I love the last section, and would have loved to hear that expanded more. 

A bit short on each idea, would have liked to hear each idea transition into the next (especially the arp in the intro which felt like it was dropped very abruptly, would have to loved to hear it morph/switch to an organic instrument).  Really cool choice of sound palette and the storyline you wrote sounded really innovative. 

The mix is phenomenal, very creative use of sound design. The track transition from 3 to 4 was a big standout.  Big ups!

This hits just right. It's a very bold move to craft atmosphere this thick with just two elements, and to actually execute it this well is even more impressive.  Moving.

Impeccable vibes.  The jaw harp sound in track two is such a perfect incorporation of the instrument. The ASMR-like incorporation of vox and sound effects add a great amount of texture. 

The most emotionally intense entry I've heard. Picture becomes more tragic and clear through each listen. Incredible work. 

Seriously love how the rhythm emerges from that intro. One of those tracks that tastes better the longer you chew it. 

That overtone is everything. Took me a while to really comprehend what was going on even after reading the description. Such an inventive and cool soundscape, loved this. 

Oh this is seriously cool. As a lover of synthetic vocal sounds, the latter half hits extra. 

Great mix and tone, especially given the timeframe. Absolutely boss. 

Nice sound design. That two-note synthline at the very end is my personal favourite. 

Love those dusty, distorted and evolving textures.

The size of this composition! It's huge and I feel huge listening to it. Dope. 

Name is very apt, sounds huge. Love the fluttering percussion.