Sounds like: A breathy, airy wash of filtered noise with hardly any pitch.
A textural pad built primarily from filtered noise rather than a tuned oscillator — pitch is secondary here, the point is a breathy, airy, non-tonal wash.
Open this patch in the interactive PatchpadDigitone II's WAVETONE machine (select with FUNC+SYN). Both oscillators are at LEV 0 and the noise section (page 3) does the work: NLEV 100 with TYPE GRAIN and CHAR 0 is white noise, and BASE/WDTH set a band of frequencies so it is a breathy wash rather than a hiss. HOLD NOTE lets it sustain while the key is held. FM TONE has no noise source, which is why this uses WAVETONE.
Syntakt's digital machines have no dedicated noise oscillator, but SY RAW's NLEV (noise level) is a real, separately mixable noise source alongside its two waveform oscillators -- pushed near maximum here with the oscillator's own level backed off, this is a genuine hardware noise layer, not an approximation via detuning. Melodic tracks 1-8 only offer Lowpass/Highpass/EQ on FLTR PAGE 1 (no Bandpass -- that's tracks 9-12 only), so a wide-open, high-resonance Lowpass stands in for the airy, breathy brief.
Summit's MIXER has a genuine dedicated Noise source (not an approximation), pushed well above the oscillator here so the pad is noise-dominant -- NOISELPF/NOISEHPF on the OSCILLATOR page further tone-shape just the noise before it reaches the main filter. FILTER's SHAPE is set to a real BP for a genuine bandpass character. LFO 1 is hardwired to filter cutoff on Summit, so the 'very slow LFO on cutoff' brief is realized through a slow RATE with a moderate LFO 1 DEPTH.
Osc 1 is Noise: Wave is the noise Type (particle through white to metallic), Timbre is the Rate and Shape is the Balance with a tonal wave. LFO 2 runs a Tri wave at 0.7 Hz. Mod Matrix: the LFO 2 row to the Cutoff column at +15. Values are on MiniFreak's native 0-100 scale.
Typhon has no dedicated noise source, so this leans on TUNE 2 detuned much further than a normal unison-width patch, combined with RESON pushed close to self-oscillation on CUTOFF -- a genuine approximation of noise-like density, not a true noise oscillator (the manual has no noise-generator mode at all). FILTER TIME and AMP TIME are both slow, matching the pad's long attack.
Hydrasynth's MIXER has a genuine dedicated NOISE VOL source (not a wavetable approximation), pushed well above the oscillator and routed entirely to FILTER 1. LFO 1 is pre-wired to FILTER 1 by default, so 'slow LFO to cutoff' needs no Mod Matrix entry at all -- just a slow RATE and a moderate LFO 1 AMOUNT. REVERB is a real always-on module, pushed up per the brief.
Synths with a genuine noise source (Digitone II's WAVETONE noise section, Syntakt SY RAW NLEV, Summit, MiniFreak, Hydrasynth if their firmware includes one) give a much truer result than Typhon's approximation.