I'm going to assume you aren't really this stupid and if you actually bothered to engage your brain occasionally you'd work this out for yourself but I'll give you a couple of examples of how D'n'D is far more effort than other, established methods of doing things.
1. If I want to add an Insert effect to a channel in Studio One, I have to select the effects panel on the right edge of the screen, find the effect I want and then drag it all the way across to the left side of the screen where the mixer channels are OR I can click the little "+" icon on the mixer channel and add the effect without having to move my cursor or my eyes away from where I am working.
2. If I want to modulate cutoff with an envelope, I can drag from an envelope down to the Cutoff slider in Vital and then set a value OR I can raise the ADSR slider in the ARP Odyssey's filter section.
Now you tell me which is the better workflow in each of those instances.
OK, that's two really stupid things you've said in a row so it's at this time that I'd call you an idiot if I was allowed to. But just because I can't call you an idiot doesn't mean that you aren't one.I guess its just different people with different backgrounds, maybe if you come from the hardware synth world, or a lot of soft-synths modeled after hardware, this might seem a bit alien and awkward for you
Let's hope not. There are more elegant alternatives, like the way Audio Damage synths do modulation, which the new version of Equator has also adopted. Again, it keeps you where you are working, not reaching all over the screen to make connections. I also like the way TRK-01 handles modulation assignments, although it is a lot more specialised, not something you'd be able to do on any old synth.in the realm of software synthesis, workflows like these are the future, and there are reasons for that.