modulation is the key to making interesting sounds.
Here is a basic methodology for massive and other synths:
First you must figure out how to produce the desired harmonics you will need later, via the oscillator pitch / waves / modulation.
Then, you subtract from those harmonics, everything that is just junk and not essential for the design of your desired sound, using the filters.
Then, its time to start thinking about modulation, in order to move away from a static, buzzing tone, you need to have modulation occurring over time (literally means controlling one parameter with another) to create a dynamic sound that is actually interesting to listen to. The approach with massive is the same as any other synth really.
Modulation SOURCES, and modulation TARGETS.
Your modulation sources (things like Envelopes, the keyboard / keytracking, LFOs, the step sequencer, velocity, mod wheel, etc)
These are just signals that tell a knob how to move over time, they don't carry any other information.
Then you have your modulation TARGETS, these are the various sound-related parameters of the synth, like pitch, filter cutoff, volume, how that one particular chorus effect is being mixed in %, detuning, literally any knob in the synth that controls the sound.
To create a dynamic, interesting patch, you will need to master modulation, and figure out which parameters you want to change over time, in a creative way.
What sets massive apart from other general subtractive synths, is that it has oscillator waves that contain rich harmonics that themselves can be morphed from one set to another (wavetables). So basically, a world beyond the simple waveforms such as sine, triangle, square, saw. This can help you create much more harmonically rich sounds, in theory.
