Yes @darenager ! you absolutely right 
I think you’re phrasing it in a very understandable way.
It’s simply a difficult question to answer.
There are only a few synth “sounds” that have names. Stuff like “Hoover”, “Supersaw”, etc… are obvious.
You might be better off just preset browsing something like Omnisphere or going to a sample library website and just listen and research.
This is a question for a seasoned preset designer.
I bet our @rob_lee would have a few answers for you.
Edit: so I see you want artist examples. Are you planning on just showing those specific examples or describing them instead?
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I thought by sayin Youtube Video and Timestamp, it would reply in a way to the difficulty that the sound don’t have name… became popular like the reese bass or things like that.
This is a question for a seasoned preset designer.
Maybe. I understand your point.
Interesting example and even thought i don’t wait people to find a name you pretty accurately give one with angry bees sound ! hahaha love it 
Really crazy track, i’m not suprised with Tale of us 
but there’s a lot of musicians/artists to push the boundaries of synthesis… i’m sure there’s a lot of sounds that would amazing for the youngest to learn (after understood the classics that we all know here).
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On the Prophet Rev2 i’m sure there was a factory patch called Angry Bees.
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Carpenter Bees ? 
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i dunno . . . it feels like the reason so much dance music i hear post 2010(ish) all sounds the same – not always in a good way either, to my ears – is the fact that most producers only work in DAWs now so all the sounds they use just blend together into a kind of lowest common denominator DAW blandness. i can still tell fairly easily whether an old skool track was 88-89, 90-91, 92-93, or 94 and later. i still hear a lot of good contemporary tracks, musically, that can break out of their own “DAWness” but sonically couldn’t tell you whether they made them yesterday or ten years ago. maybe that doesn’t date them in a way that a 1987 house track could feel dated today, but also bleaches so much character out of the newer tracks. and not for nothing, maybe making it much easier to create in a DAW has cheapened the value of actually great tracks (which used to come out weekly, in multiples, before everything went digital).
but i still come back to the fundamentals of house/techno for 30+ years now – 909/808/303, M1 piano/organ, Juno pads and leads, DX basses. if it ain’t broke don’t feel compelled to fix it!
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Yes thats the one i think.
humm food for thoughts. I hear you.
Personally I think that learning is a first step (and copying/recreating could be a way to learn) but those who don’t go through the “experimentation” step in their eagerness to release their music are missing out on a few things. Which doesn’t mean either that a discography can’t grow in quality with age like wine. Complex debate… and if we include the financial budget in the debate, it is even more complicated. But I understand what you mean.
i’m also attached to the beginning codes and classic sounds, that’s why i love this music in the first place… so… i’m certainly think modernized can be good in a subtile way (not completely reinventing the wheel, that’s for sure), things important to you that you want to do differently… i do think at some point fusion comes with its pros and cons, also business love new music genres because “new stuff” make sales. I do advise my students on that, but they are also free to choose their creative path. (i think you need to make mistakes to learn anyway) And they will certainly not buy a prophet or a oberheim to learn. So i try to make things FUN the most as i can.
Also this the baseline
I seem to remember it was created with ms20 and reaktor
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The hard clipped bass used in modern dubstep might be an example of what you mean.
Or shimmer reverb wash synths like in pop.
Or even the short delay on bass as in electro.
Edit. I think it might be quite hard to find many examples, as people started using mostly samples since the 2000s, and just the last couple of years synths became cool again …
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Maybe not club enough, but there are some distinctive post-2000s sounds going on here:
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Comes in at 3:11
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There’s a lot of sounds in here that I wish I knew how to synthesize. And a vacuum cleaner and a guitar. I think the different basses and the pads sound gorgeous in this song. No idea if any presets were harmed in the process of making.
Better quality:
This could also be a track full of nice sounding and doable sounds to learn synthesize?
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That Jamie XX track is amazing, and the video elevates it higher-still. 
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Does anyone know if Sasha’s Xpander was done with the Virus A ?
First 10 seconds
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As far as I know he made the tracks with a real Xpander? I’m sure I read that in an article at the time. His fave synth from memory? I’ve got the vinyl somewhere in the collection.
Edit. From wiki…
The title track and the EP were named after the Oberheim Xpander synthesizer, prominently used in the song. The title track was featured in the 1999 racing video game Wipeout 3 .[8] In 2017, an orchestral version of the recording was released as a single, titled “Xpander: Refracted” and saw several live performances.[9]
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Noisia has a pretty iconic, modern sound as well as original sound design methods:
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Well looks like I need to buy an xpander then. Thanks for the knowledge
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You and me both. Problem is I’m quite fond of my vital organs and I don’t fancy parting with a few to raise the required funds…
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