Sounds like: A bright, metallic swell that builds up to the downbeat, like a reversed cymbal.
A bright, metallic texture that swells up into a downbeat rather than decaying away from one — built by inverting a bright pluck's envelope, evoking a reversed cymbal crash.
Open this patch in the interactive PatchpadALGO 8 with RATIO A left non-integer (7.23) and MIX eased off -64 toward -20 lets a little of Operators B2/B1 bleed in too, for a busier, more clangorous metallic tone than the isolated single-modulator sound used elsewhere in this library. FLTR TYPE at 127 (the morph's highpass extreme) strips the low end and keeps only the shimmer. AMP page's long ATK with zero DEC and full SUS is the swell itself -- cut it at the trig/note length right on the downbeat rather than letting REL ring out.
SY SWARM's six detuned oscillators plus built-in ANIM movement give a genuinely dense, shimmering metallic texture -- OVER adds a touch of edge on top. AMP PAGE 2's MODE must be ADSR (the default for SY machines) so the long ATK/full SUS swell on AMP PAGE 1 actually holds rather than being cut short.
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 plus a little noise gives the metallic, cymbal-like density; the long amp attack with a high-pass filter swells it into the downbeat.
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. Cut the note at the trig/note length right on the downbeat. Values are on MiniFreak's native 0-100 scale.
The WAVE knob's labeled 'VCO1 square + VCO2 saw' position is the brightest combined harmonic content Typhon's two oscillators can make -- Typhon has no digital/FM/wavetable engine to draw on, so getting close to a cymbal-like swell leans hard on FX3's Large Reverb, low on Damp to let the top end ring out. FILTER TIME/AMP TIME are set slow so the real AMP ADSR values above play back at their intended long, unhurried speed. Typhon can only run FX3 as Delay OR Reverb, never both.
Oscillator 1's plain Saw is deliberately unremarkable on its own -- Mutator 1's Harmonic mode does the real metallic work, isolating and emphasizing a single upper harmonic (Ratio 8.000), the same mechanism the manual describes for making a waveform sound more pitched-overtone-heavy and bell/cymbal-like. Filter 1's HP MS20 clears low-end mud. Envelope 2's real ~1.5s ATTACK is the swell itself -- cut the note at its length right on the downbeat rather than letting RELEASE ring out.
Note length in the sequencer matters — the note must be gated to cut off right as the swell peaks (at the downbeat), rather than left to ring on.