Sounds like: A single hard hit like struck metal, not a musical note.
A single, hard, metallic hit — combines a fast pitch drop with heavy inharmonic FM content for a percussive, structural accent (think: a struck piece of metal, not a musical note).
Open this patch in the interactive PatchpadCorrected: the original used an LFO on a non-existent 'Pitch' destination for the fast falling 'thwack'. FM DRUM's built-in pitch sweep (STIM/SDEP) is the real mechanism: a short, moderately deep sweep on the body. The inharmonic metallic edge comes from operator A's non-integer ratio (3.73) with a fast DEC (A) so the FM brightness collapses quickly, a second inharmonic operator B, feedback/fold, and the machine's transient (TLEV) and noise (NLEV) layers for the struck-metal attack. Parameter values (TUNE/STIM/SDEP scales aren't documented) are starting points to adjust by ear.
SY TONE is Syntakt's two-operator FM voice: a high RATIO and heavy MOD with FDBK give the inharmonic metallic content, and MENV lets the modulation decay after the hit. LFO PAGE 1 in one-shot TRIG mode with the unipolar Exponential wave and a negative DEP gives the fast falling pitch thwack, targeting the machine's TUNE knob (parameter 1), since Syntakt's LFO destinations have no direct pitch option. RATIO is by ear; the manual gives no scale.
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. Heavy FM at an inharmonic ratio gives the metallic content, and Mod Envelope 1 routed to all-oscillator pitch (Mod Matrix, O123Ptch, negative depth) gives the fast falling thwack; hard Distortion adds the impact.
Osc 1 is BasicWaves with Morph at 40 (between square and sawtooth): the Morph knob runs from a square (0) through a sawtooth (50) to a double sawtooth an octave up (100), Sym only changes the pulse width below 50, and Sub adds a sine an octave down (0 here). Osc 2 is the FM/RM engine (Osc 2 only): Osc 1 modulates it; Wave is Osc 2's waveform, Timbre the FM amount and Shape the ring-mod amount. Mod Matrix: the CycEnv row to the Pitch 1+2 column at -30. Values are on MiniFreak's native 0-100 scale.
The WAVE knob's labeled 'VCO1 square FM'd by VCO2 triangle' position is Typhon's real cross-modulation mechanism -- the closest genuine equivalent here to the other synths' FM/ring-mod approach, rather than plain detuning plus distortion. RESON is pushed up for extra edge, and FX1's Hard Clipping adds further grit. Expect a rougher, less precisely controllable result than the FM-capable synths, since Typhon's FM relationship is one fixed knob position rather than a tunable ratio/depth pair.
Hydrasynth's MIXER has a real dedicated Ring Mod bus (RING VOL) -- both oscillators are set to 7 semitones apart and fed only into the ring modulator (their own OSC LEVEL faders at 0), so the entire tone is the inharmonic sum/difference product, the genuine 'ring-mod routing pushed hard' this patch's brief calls for. A free-assign Envelope 3 gives the fast falling pitch 'thwack' via the Mod Matrix; POST-FX's Distort adds the final edge.
Shares its FM/inharmonic approach with Metallic FM Clank Bass but adds a fast pitch-fall for a harder, more percussive landing. Digitone II and Syntakt (SY TONE) have real FM, MiniFreak has Osc 2 FM/RM, and Hydrasynth uses ring modulation.