Sounds like: A bright, crystalline, shimmering pad, all sparkle and no weight.
A bright, crystalline pad with a shimmering upper register — the opposite of the warm/dark pads elsewhere in the library, meant to add sparkle and lift rather than weight.
Open this patch in the interactive PatchpadALGO 8 with MIX at -64 selects the X output (C modulated by A, plus B2 as a plain carrier); B1 sits on the Y output, which MIX -64 leaves out. Ease MIX away from -64 toward 0 to blend in the Y output (B1) for a more complex texture.
SY SWARM is Syntakt's supersaw-style machine (six detuned oscillators over a fundamental, with an animation LFO already built in) -- picked over the plainer SY RAW because it's built for exactly this kind of thick, shimmering pad character, confirmed against community reviews of the machine. AMP PAGE 2's MODE must be set to ADSR (the default for SY machines, but check it) -- otherwise SUS/REL on AMP PAGE 1 are ignored and the pad can't sustain. Melodic tracks (1-8) on Syntakt use Digital machines, not Analog ones -- Analog machines are only on the drum/cymbal tracks (9-12).
Summit has real FM: the panel FM section's Osc 1 > Osc 2 control sets how much Oscillator 1 frequency-modulates Oscillator 2's pitch, and its Source button picks Manual, Mod Env 2 or LFO 2 (the sources add together). Osc 1 is the modulator (its Mixer level is 0) and Osc 2 is the carrier; the Osc 1 : Osc 2 pitch ratio (set with Range and Coarse) decides whether the sidebands are harmonic or bell-like. A modest FM depth at a 3:1 ratio adds bright, bell-like sidebands to a sine carrier for the glassy, crystalline character; reverb and delay do much of the shimmer.
Osc 1 is Modal, a physical model of a struck object: Wave is Inharm (woody to metallic), Timbre is the exciter brightness and Shape is the decay. Values are on MiniFreak's native 0-100 scale.
The WAVE knob's own labeled position blending VCO1 square with VCO2 saw is the brightest, most harmonically rich combination Typhon's two oscillators can make -- Typhon has no digital/FM/wavetable engine to draw on, so getting close to 'glassy' here leans hard on FX2's Ensemble (a polyphonic chorus, wider and more animated than plain Chorus) and FX3's Large Reverb, low on Damp to let the top end ring out. Typhon can only run FX3 as Delay OR Reverb, never both -- unlike every other synth in this patch, there's no independent delay send available alongside the reverb. Typhon's front-panel knobs are physically unmarked (no printed scale), so those values are described by clock position, not a percentage. Its Filter/Amp ADSR values are entered via sliders on the OLED screen and use the same 0-100 convention as every other numeric Typhon parameter, though the manual doesn't give an explicit range for those two pages the way it does for M1-3/FX1-3/SET -- treat this as inferred by consistency, not manual-confirmed. M1/M2/M3 are left unused since this patch doesn't need any of Typhon's three modulator slots.
Oscillator 1's plain Triangle is deliberately unremarkable on its own -- Mutator 1's Harmonic mode does the real work, isolating and emphasizing a single upper harmonic (Ratio 8.000) to give it a bell-like, metallic edge, the same mechanism the manual itself describes for making a waveform sound less natural and more pitched-overtone-heavy. Oscillator 2 runs in WaveScan mode across a small 2-frame Spect A Wavelist, held at a fixed position rather than swept, purely as a second digital-flavored layer under Osc 1, detuned +4 cents for gentle beating rather than a wide unison. Oscillator 3 is real hardware but left at 0 level -- unused, not absent. Filter 1 is a gentle LP 1 Pole kept nearly wide open with no envelope or LFO modulation, so it stays out of the way of the harmonic content Mutator 1 is shaping; Filter 2 isn't needed for this patch. Hydrasynth has 3 real oscillators (not 2) and its 4 Mutator modules are unrelated to its 8 Macros -- Mutator does oscillator-level shaping, Macro is a performance-control layer, and this patch doesn't need a Macro. Reverb and Delay are genuine separate always-on modules here, not shared with Pre-FX/Post-FX, so both can run at once alongside the Pre-FX Chorus.
Reverb and delay carry a lot of this patch's identity — a dry signal chain will sound thin and bright rather than 'shimmering', so don't skimp on the send effects.