"..can i get the pedal react really fast"
Most of the Destinations respond quickly to patches but delay times and some of the reverb parameters take quite a bit of time to process and are not good for real-time control like a pedal. Levels and things like feedback are virtually instantaneous.
A couple of other possible causes for sluggish cc response is midi traffic (midi notes or other controllers) and responsiveness of the pedal itself. A quick test would be a patch to a volume control effect loaded into Clean Slate; response should be virtually instantaneous. Is the MIDI LED on constantly? If you go into the Edit - Patching- Src: field and press Options, you are shown the range of source values for the patch but if you press the > button after the Max you are taken to a "Source Val" screen that shows current value of the patch's source along with a peak value (handy when you are using an Env (Edit-Controllers-Env audio envelope). This is a great tool for adjusting the range of a pedal which is sometimes adjustable and can get knocked out of whack. If you click the > again you are taken to the "Src: Learn" screen which will just capture the incoming controller to use as the patch source. Also very handy.
"is there a way to use a cc command to totally bypass my delay effect....?"
Yes. There is a standard set of controller assignments made for the G2 but the can be easily changed from the System - Bypass Patches menu.
".. i'll set the minimum and maximum dB...right? how do these dB's correlate to the dB setting in the mix menu? "
The Min, Mid and Max values in the Patch Dst menu define what min, mid and max values (3 points) should be mapped to the min, mid and max for the patch source ("Src:"). The full range of source values is 0-127 where 0 is the min, 63 is the mid and 127 is the max representing the full swing of the pedal so when the cc is at 0, the source min value, the destination will go to the value assigned to the Dst Min. When the pedal is moved to the top, the controller is at 127 which maps the source max to the destination max. The Dst parameter will go to whatever value you set for the Dst Max. For a full range Level patch the Dst Min would be "Off" and the Dst Max would be +6Db but if you switch them on one patch you can, for instance, fade between two effects with the pedal.
One of my favorite things to do is to set up 3 or more patches using the same pedal cc as the source but changing the ranges of the sources and the destinations to have parameters turn on and off as the pedal moves. Very, very cool. Use one patch for the volume of the delay and a second one for the feedback so when the pedal crosses a certain point feedback starts getting added.
".. a master setting...?"
The "Post" "Level" is a good control for the over all level. I usually create a patch to that for my main volume.
"in program #32 TS Delay+ ...can you explain me - what's the sense...why does the routing split after the eq effect and merges in front of the output...is the sense a parallel dry route...? "
I'm not 100% sure what the parallel route is for in this case other than, perhaps, to provide a stronger dry signal at the output. This program was probably created with V1.0 which doesn't have the all-important effect Mix "Option" for "Effect Mix" or "Dry Level" which would let you adjust the levels in line. An example of where you might use the parallel path is where you want to loop with this program; you put a Volume (S) in the chorus which is just before the delay, but AFTER the eq, and create a patch to it to control how much of the input gets fed into the delay. The feedback patch on #32 is a simple AB patch but you can patch all of these things to the pedal and just move the pedal to go from no delay to some delay, to more delay, then more feed back then, as the feedback increases, the input to the delay goes down (near the end). Great set of patches. I've created that one a few times so I'm sure I've got one around.
The parallel path can also be helpful if you run separate amps for each output; where you might have dramatically different sounds coming out of each.