I have to put in a word for an abundance of low frequency oscillators.
Four LFO's, plus an additional envelope generator dedicated to modulation, may seem like an excessive amount of modulation. But modulation is now so much more than it was once considered. In past decades its use was basic but blunt - usually a matter of one LFO, or rarely two - and the result was an overt use of movement. This would be an often excessively wide vibrato, a welcome-back-my-friends filter sample and hold, or something else quite obvious in the patch. But now, thanks to the vast number of routings available, it can be used much more subtly and effectvely - I would even say musically. The end result is that even an ostensibly simple patch may make use of three or four types of modulation, some quite delicate and barely noticeable.
Once I thought all this modulation was excessive, and instinctively preferred a Prophet-6 type of simplicity. But no longer. Even if I'm designing a basic reed sort of sound - like an oboe - I find that the use of a single LFO for vibrato leaves me with an annoyingly electronic-sounding patch, something only a little better than a nasal buzzer with a wobble to it. But the tasteful use of more LFO's transforms the patch into something far more satisfying, something on the verge of acoustic-sounding. For example, the use of modultion applied to only one barely audible second oscillator can subtly transform a typical synth reed patch into something very sweet and melifluous. So, too, can a slight and slow filter modulation, which can give a pad a natural heaving breathing type effect. These are applications of modulation that are essential to a patch, and yet, are hardly noticeable at a first listening.
In designing sounds, I would now never want to have fewer than four LFO's. And yet, the sounds I like are seldom ever overtly modulated. Modulation use has matured over the years, and sound design has become a most precise and subtle art.