Sounds like: A bright pluck with a short low thump underneath for weight.
A bright pluck with a short sub-sine layer underneath — the bright layer carries the melodic pitch and articulation, the sub layer adds low-end punch without muddying the tone.
Open this patch in the interactive PatchpadTrack 1 carries the bright pluck (Operator A ratio 2.00 modulator, strong FLTR ENV for a fast filter-close); Track 2 plays the same note 1-2 octaves down on a plain ALGO 1 sine carrier with its own much shorter AMP decay (13 vs 45), tuned via that track's transpose so the sub disappears quickly while the pluck's tail continues. Track 2's filter is left at default fully-open, not shown here.
Two separate melodic tracks (both Digital SY RAW machines): Track 1 is the bright saw pluck with a fast, strong filter-envelope close; Track 2 plays the same note transposed 1-2 octaves down on a plain Sine with a much shorter amp decay for the sub layer.
Summit's two independent full voices (Layer A, Layer B) give the pluck and the sub genuinely separate envelopes -- Layer A is the bright saw pluck with a fast filter-close; Layer B is a plain Sine an octave (16') below Layer A's 8' range, wide open with a much shorter Amp Envelope decay so it disappears quickly while Layer A's tail continues.
Osc 1 is BasicWaves with Morph at 50 (pure 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 1 is Bass: Wave is Saturate, Timbre is Fold and Shape is Noise. Mod Matrix: the CycEnv row to the Assign 1: Osc 2 Volume column (hold an Assign button and turn that control to assign it) at +100. The shared Envelope shapes both oscillators together for the pluck's own decay; giving the sub its own noticeably faster decay uses the Cycling Envelope as a second, independent modulation source routed to Osc 2's own Volume in the Modulation Matrix, so the sub disappears quickly while the pluck tail continues. Values are on MiniFreak's native 0-100 scale.
Typhon has a single shared VCF/VCA across both VCOs, so the pluck and the sub can't get independent decay times the way the multi-track/multi-oscillator synths in this family manage -- CUTOFF is kept fairly open (~2 o'clock) as a compromise that keeps the sub layer full, with the pluck's bright edge coming mainly from the fast amp/filter envelope decay rather than the cutoff position. Front-panel knobs are physically unmarked, so WAVE/TUNE 2/CUTOFF/RESON/EG LEVEL/FILTER TIME/AMP TIME are described by clock position, not a percentage.
OSC 2 (Sine, -12 semitones) is the sub layer; both oscillators share Filter 1 and its Envelope 1 for the main pluck-close shape. Envelope 3, a free-assign envelope, is routed via the Mod Matrix to Mixer Osc2Vol with its own much shorter decay so the sub disappears quickly while OSC 1's tail continues -- Hydrasynth has no per-oscillator amplitude envelope by default, so a free-assign envelope plus Mod Matrix routing is the real mechanism for giving one oscillator an independent decay.
MiniFreak is genuinely dual-oscillator and 6-voice polyphonic, so it runs both layers simultaneously on one voice — see its own guide for the Cycling-Envelope-to-Osc-2-Volume trick used to give the sub layer a faster decay than the pluck on top.