Simply because that's the example I gave in this instance.

I covered quite a lot on my post because Dennis asked me to comment on the Roland video from a KORG users point of view. If you want to complicate things, that's no problem at all. I did explain the Pa3X has 24 OSC's which were all independent. So lets go for another example using a crazy 24 Layers.

Set OSC 1, 2, 3 and 4 to work between C3 to C4 at a velocity of 0 to 64. Set OSC 1 to Poly, OSC 2, to Mono Lower, OSC 3 to Mono Last, OSC 4 to Mono Upper.

Now play a chord.

Repeat all the above for OSC's 5, 6, 7 and 8 using different sounds, and assign them to a velocity of 65 to 127.

Now repeat both examples above with different sounds and assign them to C4 to C5 and so on until all 24 OSC's are being used.

Now go back over everything and assign RX and DNC. You now have the mother monster patch of all time. However..... lets keep going. How about some complex EDS sound engine programming with detail LFO Modulation that is controlled by velocity, after touch or even controllers.

Sky is the limit, but for the purpose of my original post. This simply over complicates everything to a point where there is no point in me having explained all this in the first place.

Sometimes saying too much is counter productive.

Regards
James