Sounds like: A driven, medium-length chord stab, longer than a pluck and shorter than a pad.
A medium-length chordal stab built for techno arrangements — longer than a pluck, shorter than a true sustained pad, with enough filter movement to feel driven rather than ambient.
Open this patch in the interactive PatchpadDigitone II has 16-voice polyphony, so play the chord as several notes on one track; there is no need to split it across tracks. ALGO 8 with MIX at -64 selects the X output (Operator A modulating Operator C, plus B2 as a plain carrier), giving the bright-but-controlled carrier edge; LEV 38 on Operator A keeps that modulation moderate rather than harsh. The FLTR page's own ATK/DEC/SUS/REL is a separate envelope from the AMP page's -- a strong ENV depth plus quick decay to a low sustain is what gives the driven, stabbing filter movement. FX page DEL only sets the send level (19 is light); the delay's own quarter-note sync is dialed in on the pattern-level Delay page, not per track.
SY CHORD's TYPE picks a real chord or unison (manual Appendix D), so one Syntakt track plays the whole chord; BAL sets the interval mix. OVER 45 gives the driven edge. AMP PAGE 2's MODE must be ADSR (the default for SY machines, but drum machines default to AHD), or SUS/REL on AMP PAGE 1 are ignored and the stab can't reach its low sustain.
FILTER's SOURCE is routed to Mod Env 1 rather than the Amp Envelope, so the filter's quick-decay-to-low-sustain stab shape can be dialed in independently from the Amp Envelope's own contour -- this routing is what stands in for one. EFFECTS' DISTORTION LEVEL supplies the driven edge for this patch's distortion-saturation character; DELAY SYNC is set directly to a quarter note rather than a free-running TIME value.
Osc 1 is Two Op. FM: Wave sets the ratio between the two operators (non-integer ratios are inharmonic and bell-like), Timbre is the modulation index and Shape is the feedback. Osc 2 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). Values are on MiniFreak's native 0-100 scale.
Typhon's paraphonic mode lets VCO1 and VCO2 each track their own pitch when two keys are held, so voicing 'the two most important chord tones' just means playing those two notes -- the FRONT PANEL's WAVE knob here only sets the two voices' shared timbre/blend, not which notes sound. EG LEVEL pushed fairly high plus a quick FILTER ADSR decay to a low sustain is what gives the driven stab movement. No FX page is used -- this patch doesn't need Typhon's onboard effects.
PRE-FX's Distort module supplies this patch's driven edge (distortion-saturation) ahead of the filter. ENVELOPE 1 is pre-wired to Filter 1, so its quick decay to a low sustain (paired with ENV 1 AMOUNT 50) is what gives the stabbing filter movement; ENVELOPE 2 is pre-wired to Amp and shapes the overall note length. The chord is voiced directly using Hydrasynth's full polyphony.
Same polyphony as the library's other chord-voiced patches — Digitone II (16 voices), Syntakt (SY CHORD machine), Summit, Hydrasynth and MiniFreak (6 voices) voice true chords directly; Typhon needs the two-voice workaround.