Full list of descriptions for Mod Matrix destinations/sources?

Most of the Mod Matrix destintations and sources are self-explanatory but there are definitely some that I'm not sure what they are and would like to get a thorough understanding of them all so that I can take advantage of them since the mod matrix really is such an important aspect. Problem is, Access doesn't cover an explanation/description of the Mod Matrix sources/destinations in any of the documentation and I haven't been able to find anything like that online either.

Does anyone know where I can find a full list of Mox Matrix source/destination descriptions?

Thanks for the reply, I'd already gone through all the OEM PDF's and tried Googling for the answer. I should narrow it down, there are some sources I don't understand and put in red text below with my best attempt at random guessing. The destinations are all self-explanatory for me except for the "filterbank" ones which I also typed in red below. I typed all the source explanations in case anyone can benefit from it because only a few of them are listed in the PDF.

Can anyone help me understand the ones I typed in red text below?

SOURCES:
Pitch Bend – Self-explanatory, this is to map a setting to the pitch bend wheel on a MIDI controller.
Chan Pressure – Also known as “Aftertouch” which is similar to velocity. Velocity is the how hard you initially press the key and aftertouch is the amount of pressure applied to the key after the initial velocity.
Mod Wheel – Self-explanatory, this is to map a setting to a mod wheel on a MIDI controller. You can alternatively map the mod wheel to one of the 3 assignable soft knobs.
Breath – This maps a setting to a breath controller as a source, if you own one.
Controller 3 – This is an assignable controller that uses MIDI CC channel 3.
Foot Pedal – This is for a foot pedal, I’m not entirely sure on the difference between a foot pedal controller and an expression pedal but I think foot pedal controllers offer a lot of versatility/options whereas an expression pedal is like a piano foot pedal.
Data Entry – I don’t know what this is.
Balance – I don’t know what this is – oscillator balance, filter balance, etc?
Controller 9 - This is an assignable controller that uses MIDI CC channel 9.
Expression – This is for use by an expression pedal if you have one, I’m not entirely sure on the difference between an expression pedal and a foot pedal controller. I think that expression pedals are conceptually similar to a piano foot pedal.
Controller 12 - This is an assignable controller that uses MIDI CC channel 12.
Controller 13 - This is an assignable controller that uses MIDI CC channel 13.
Controller 14 - This is an assignable controller that uses MIDI CC channel 14.
Controller 15 - This is an assignable controller that uses MIDI CC channel 15.
Controller 16 - This is an assignable controller that uses MIDI CC channel 16.
Hold Pedal – Also known as a “sustain pedal”, I’m not sure what this is for but it’s one of the MIDI pedals that’s conceptually similar to piano foot pedals.
Portamento Sw – This is short for “portamento switch” and I think this parameter is used to toggle portamento on/off from a MIDI controller.
Sost Pedal – This is short for “sostenuto pedal.” If you press down this pedal and hold notes on the keyboard, then those keyboard notes will remain sustained even after the keys are no longer being pressed down. The keys will be released from sustain when the sostenuto pedal is no longer held down.
Amp Envelope – This is similar in concept to using LFO’s, the modulation follows the ADSR curve of the amp envelope.
Filter Envelope - This is similar in concept to using LFO’s, the modulation follows the ADSR curve of the filter envelope (located to the left of the amp envelope).
Envelope 3 - This is similar in concept to using LFO’s, the modulation follows the ADSR curve of envelope 3.
Envelope 4 - This is similar in concept to using LFO’s, the modulation follows the ADSR curve of envelope 4.
LFO Unipolar – This is what you’re probably the most used to, this type of modulation moves the entire LFO wave up or down depending on how you have it set so the entire LFO wave changes if you increase/decrease modulation.
LFO Bipolar – This type of modulation leaves the negative (bottom) part of the LFO wave in place and only moves the positive (top) part of the LFO wave so only the top half of the LFO wave changes if you increase/decrease modulation.
Velocity On – I think that this causes the key’s velocity to control the positive or negative value change of the destination, the harder you press the key on the MIDI controller the more the destination’s value is applied?
Velocity Off – I think that this source causes the note’s release velocity to control the positive or negative value change of the destination.
Key Follow – I think that this source causes the destination to change its value as you play up or down the keys of a keyboard in the same manner that key follow would change the note’s pitch except instead of just changing the note’s pitch, when you use the mod matrix feature it will treat the destination like it would normally treat the pitch.
Random – This source option just applies a completely random pattern to whatever you assign its destinations to be.
Arp Input – I think that this source allows the pattern of the arpeggio to control the values of its destinations. The more velocity that’s applied to each arp note (the vertical bars), the more modulation is applied to the mod matrix destination?
AnaKey1 & 2 – This is short for “Analog Key” and there are 2 different unique AnaKey sources (1 & 2). This source tries to emulate the eccentricities of analog gear (drift/wavering parameters) that add to the signature analog sound. You can use a small amount to make it subtle or a large amount to make it emulate pattern anomalies like those found in a 30 year old uncalibrated analog synth.
AnaKey Fine – The AnaKey1 and AnaKey2 Fine sources are best used with destinations that affect pitch on certain keys. These destinations would include a filter cutoff with high resonance, if used on other destinations then the change might be so subtle that it isn’t noticeable, if you are unable to notice a difference then you should try AnaKey Course instead.
AnaKey Course – The AnaKey1 and AnaKey2 Course sources cause a more extreme “Analog Key” effect on the destination than AnaKey Fine does. This source is best suited for anything that isn’t pitch-related.
Constant Offsets (1% constant & 10% constant) – MIDI only allows for a resolution of 128 values per each parameter (the reason why the mod matrix destination parameter goes from -64 to +64) but the Virus is 24-bit and capable of 16 million values per parameter. So this option lets you fine-tune the parameter’s values. The first option is 1% constant which may not be noticeable in most circumstances but might be good for destinations such as pitch and the filter cutoff (if the filter cutoff has a very high resonance). The second option is 10% constant which would be the best choice for fine-tuning a modulation value for most destinations.

DESTINATIONS:
Filterbank Poles– Changes from SER 4 to SER 6 for both filters?
Filterbank Reso– Changes resonance for Filter 1 or 2?
Filterbank Slope– Changes slope for Envelope 1 but not Envelope 3, 4 or Amp Envelope?
Filterbank Freq– Changes the cutoff frequency for Filter 1 or 2?

thanks for taking the time out to clear those up for me, you're a huge help!