Berlin School on these two machines, one technique at a time. Each lesson sets up both panels and any cables, and starts it playing.
Live readings taken off the panels above. Turn something and watch what moves.
Two cycles of what the mixer is summing, before the filter. Each oscillator is drawn faintly underneath the total. Detune two of them by a hair and the summed shape starts crawling — that slow crawl is the beating you hear as thickness.
The ladder's 24 dB-per-octave slope, drawn against the harmonic series of the note that is sounding. The stems left of the knee survive; the ones right of it are what the filter is throwing away. Emphasis lifts the corner rather than moving it.
Both contours in real milliseconds against the gate the sequencer is actually sending. When the loudness decay runs past the gate the notes overlap and the line joins up; when it stops short you get the gaps that make a sequence tick rather than sing.
Each one sets the rig up and tells you what to listen for. They change only the controls they mention, so whatever you had dialled in elsewhere survives — and everything is a knob you can put back.