Sounds like: The classic 90s rave 'hoover': a huge, swooping, snarling detuned stack.
The unmistakable early-rave 'hoover' sound — a thick, detuned, pitch-swept stack with a snarling, alarm-like quality that instantly reads as its own genre reference.
Open this patch in the interactive PatchpadCorrected: the original was an FM TONE ALGO 3 stack with an LFO on a non-existent 'PITCH' destination for the swoop. Digitone II's SWARMER machine — one main oscillator plus six detuned ones — is the real supersaw-style engine a hoover wants, and its bipolar TUNE is a genuine, smooth LFO destination: a one-shot (MODE ONE) descending Ramp with negative DEP on TUNE at each note-on gives the signature pitch swoop across the whole stack (flip DEP's sign for a rising swoop). DET and ANIM (hidden LFOs modulating the swarm in pairs) give the thick, animated detune; FX-page OVERDRIVE adds snarl. Values are starting points to adjust by ear.
SY SWARM is Syntakt's real supersaw-style machine -- DET/MIX/ANIM give the thick detuned/animated stack directly, a far more literal hoover engine than a generic 'built-in detune pushed wide' instruction. Melodic tracks use Digital machines, not Analog. AMP PAGE 2's MODE must be ADSR or SUS is ignored. Corrected: this LFO used to target an invented 'Pitch' destination — Syntakt's LFO destination list (manual Appendix C) has no direct pitch option, so it now targets the machine's own TUNE knob (parameter 1), the real route to pitch modulation. (For hard one-shot pitch falls Syntakt also has native sweeps: BD MODERN's SWEP sets pitch-sweep depth and time.)
Oscillators 1 and 2 detuned via FINE in opposite directions, each with DIVERGE adding further per-voice spread, gives a genuinely thick multi-voice stack -- Summit's real menu-only DIVERGE parameter (per-voice detune spread) is a more literal match for 'detuned stack' than generic layer detuning. MOD ENVELOPE 2 is a fast, zero-sustain envelope used purely for the pitch swoop, routed via the MODULATION MATRIX to all oscillator pitch at a negative amount for a downward dip at note-on -- independent of MOD ENVELOPE 1's filter movement and the AMP ENVELOPE's loudness shape, since Summit has three separate envelope generators to spend.
Osc 1 is SuperWave, the stacked-detuned-copies engine: Detune (85) sets the spread between the copies and the third knob (60) sets the copies' level against the original. Mod Matrix: the CycEnv row to the Pitch 1+2 column at -15. The Cycling Envelope is MiniFreak's second, independent modulation generator -- using it here (rather than the main Envelope, which is hardwired to the VCA) for the pitch swoop keeps amplitude and pitch shaping fully separate, unlike synths that have to share one envelope between the two jobs. 0-100 scale throughout. Values are on MiniFreak's native 0-100 scale.
M1 set to Envelope MODE with a fast D/R and DEST routed to CV gives a genuine one-shot pitch-envelope dip at each note-on (LVL in semitones, negative = downward dip resolving back to pitch) -- a real mechanism. FX1's Foldback distortion adds the snarl on top of RESON. Front-panel knobs are physically unmarked, described by clock position; AMP ADSR/M1/FX1 use the OLED page's 0-100 convention.
Mutator 1's WavStack mode gives Oscillator 1 five real detuned copies of its own waveform, a genuine built-in unison thickener -- combined with Oscillator 2 detuned further via CENTS, this is a more literal 'detuned stack' than a generic wavetable-unison instruction. Envelope 3 (one of Hydrasynth's three free-assign envelopes) is dedicated purely to a fast downward pitch dip via the Mod Matrix, independent of Envelope 1 (Filter) and Envelope 2 (Amp) -- Hydrasynth's five real envelopes let every stage of this patch run on its own independent generator, unlike synths that have to share one.
The pitch-envelope 'swoop' at the very start of each note is as much a part of the hoover identity as the detuned stack itself — don't skip it even though the amount is subtle.