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The synth patches that you want will exist if you build them yourself. :) You might consider studying some of the older musicians such as Keith Emerson and Rick Wakeman. At that time, people usually rolled their own sounds, building them from the basic four waveforms. Also, you might read up on "additive synthesis" which has to do with the theory behind ...


5

I think subtle expression possibilities is the key. Piano, electric piano and organs have a large and very finely controllable dynamic sound range1 (either by true continuous 𝆑𝆓𝆏 spectrum right "at the fingertips", or lots of of possible organ stop/drawbar combinations), so you can always counteract where it might get tiresome, without however necessarily ...


3

You're probably right. Even the most wonderful non-piano/organ synth patch would be too much if used for an entire concert (as would panpipes though). Many advanced synth performers will often tweak the patch as they play, equipment permitting. Sound wise, most synth sounds are going to emulate instruments that are either struck, plucked, bowed or blown, ...


1

Part of the reason is that synths are most often used in electronic music, which is usually highly polyphonic and emphasizes the interactions between multiple layers instead of focusing on one sound. As a result, synth sounds aren't created to be powerful across the entire realm of musical functions, but instead to do one thing really well and play nicely ...



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