This (original post) reminds me of those early days of Overbridge, when there were a few Elektron Science Lab videos coming out and they had some examples with A4, for instance, which were all super heavy on modulation - to the point that it seemed to be more a fast demonstration of the sonic-versatility rather than a meaningful composition.
It was all pretty quality ear candy from what I recall, compliments to whoever participated in that. I get it though, the excessive modulation can be fatiguing to the ear and it’s difficult to unhear or ignore the try-hard aspect to that.
Yet that sort of FX sound design can work well for cinematic applications at least. I think everything can have its place and that it’s all about context.
Some sounds only need to be used once.
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Presets are designed to show off all of the features of a synth, and impress during demos.
They are not necessarily designed with real world music in mind.
In order to know what a synth can do for YOU, you have to program it yourself, and make some music with it.
Occasionally you can bend a preset to your will and use it. However, if you’re composing, you should design the sound you need. That’s what differentiates a synthesizer from a guitar.
You can make what you want/need, for the music you’re making.
There are places for hugely modulated sound. Textures, soundtracks, exploring. But the beauty of a synthesizer is synthesizing sounds to use in your music.
Don’t take demos, presets, etc. as the sound of a synthesizer. Use it to build what you want.
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Highly-modulated sines gave us FM synthesis.
I am not bored of Canada this, I feel like the most part of the journey is still in front of me.
And on A4 I often play with AM + PWM because of the interesting timbres it adds to the sound. OSC2 2nd menu is where it’s at, together with the Env and LFOs. Even plocks can be seen as crazy modulations. Would you say a track can be over-plocked?
What is over-modulated is very subjective, but I’m definitely on the side of highly-modulated sounds.
A4 would be boring as a SH-01a without modulations. 
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Probably best to think of stuff like this as a tech demo rather than a piece of music.
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Oh, now I see what you’re saying. 
I would call that experminentation with electronic soundscapes: a super-narrow niche that maybe some people get a kick out of. I mean, the example given isn’t exactly “music” by the standard definition. Few people would put this on as background music when making a romantic dinner for example. 
I originally thought you were talking about things like using up all five LFOs on a Hydrasynth to create more movements in an otherwise inherently musical synth sound. Like a pad that changes ever so slightly over time. Because I mean, we all love that, no?
You play ‘jump’ or you play with sound. For me the second one is music the first one fandom?
Unfortunately the first one is ‘normal
Or you play techno 
Others have already said some good stuff here about more experimental uses of synths, but one thing that I think is really neat is that we’re at a point with technology and access to information that a lot of people who wouldn’t be in a position to know about or try doing more experimental work can. You no longer need the connections, access or funding to get into some pretty out-there territory. And it’s a lot easier to find out about La Monte Young or Steve Reich or Daphne Oram or whoever, listen, and be inspired. I’ve been doing a ton of stuff lately that is basically all modulation and I’m having a blast. I feel like Rodney Dangerfield in Caddyshack rocking up to the art world country club.
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I hope so French cousin. 
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Doing some experimental things myself I dare to say … not everything from the lab has to go out the door.
I compare it with cooking … if the cooking went wrong - somehow - I don’t need to feed my guest with it … 
Or how I shock sometimes in a fine-art gallery friends … some say that I’m an ignorant … if someone throws an ink bag to the wall and calls the spattering “art” … well … at least not my cup of tea
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Hehehe!
I was going to mention phase modulation (FM)…
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Well, this falls into experimental music, and more specific genres under that. (West Coast early Buchla, San Francisco Tape Music Center sort of stuff, only more modern of course.) This is typcially (though obviously not exclusively) done with modular synths. As with any genre, art form, music, etc. whether you enjoy it is down to your personal taste.
There are more people out there making and enjoying this sort of thing than you might think. Pretty easy to avoid a genre you don’t like though.
IMO, it’s quite enjoyable to work on things like this. It’s easy to get pulled in and immersed in the sounds you’re making, and when you discover some minute change it can be monumental (within the session at least). Sitting in front of a modular and tweaking complex sounds like this can be quite relaxing, Zen-like, and well, good for you.
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