It seems to me there 2 basic types of pitch bending:

1. The virtuoso type where the hand is constantly going back to the wheel to
deliver bend patterns that are not practical to automate, and where the usual functions of the LH have to be compromised.


2. The more natural types of bend that occasionally happen at the beginning of
notes varying from those barely discernible scoops to lengthier/lazier - up to
1-2 semitone bends - up to pitch.

For me it is these that provide the impression there could be a real person
playing that horn or sax - as important as those other changes of attack and
timbre that can occur through playing technique.

And having to move the left hand over to the wheel every time spoils that impression (for me, as a player ).

So for certain instruments I create custom voices usually based on Ty2 onboard voices (although they don't have to be) which produce those type 2 graded bend effects triggered by velocity, different values of the latter often triggering a "legato" effect and timbre changes.

That way you get the extra realism in solo playing, and full BigBand ensembles become busy, appearing to come alive and all you have to do is play expressively leaving the left hand to do what it does (should do) best and without interfering with your natural rhythm (karma?) of playing.

It's certainly liberating and can be very inspiring if playing freestyle.

John