The "what should a synthesizer sound like?" question suggests, in part, you hear a violin or a trumpet (or rather a trumpet or violin sound) you identify as yes, a synthesizer, and ask if the synthesizer fails its mission to synthesize or--to one or another notch of calibration on whichever calibrating dials you dial up or down to measure calibration--only advertises its own presence under the costume of authenticity and actual-ness.
Its the binary of Shakespeare.
There's the pretend, pretending.
It pretends to be fake . . . now or now or now . . . or to be not fake . . . now and now . . . notched up (or down) as an argument, a pitch. . . a pitch to? to? . . . The pitcher? Some pitch-ee? The audience that may or may not be there? Yes, to these too as it (the pitch) moves up or drops down--now and now and now--so space and belief, purchase and denial, can click in, or are clicked out by (or in the name of) imagined acts, acts happening, and happened imaginings.