The good stuff here is that the "tines" are done using a square wave pitched up into aliasing at the start of the FM operator chain. Doing so eliminates a bunch of DSP (i.e. at least two FM operators) that may be required to reproduce the effect, although I haven't tried going the "pure" FM route to emulate it yet since aliasing does a pretty nice job already. This one also uses a filter between operators 1 and 2. PC3 file is attached, the only sliders assigned are H (chorus amount) and I (soundboard amount). This should work out-of-the-box with anything that loads the PC3 file format. It's 3 layers but generally only uses 2 notes of polyphony, the third layer is SWAGed from one of the preset Rhodes (thanks, Dave W!) and is the key "thump" sound.
Anyways, this is by no means perfect; the "tine" tone does not modulate smoothly across the key range. One of the few limitations of the PC3 is the resolution for pitch control. Generally it's awesome, but when working with aliasing a small change (1 cent or less) makes a big difference. So, for the "next big thing" I vote for more resolution on pitch-controlled parameters to allow for finer control of stuff like aliasing artifacts.
Feel free to modify/use/redistribute (not for profit, of course), I'd love to hear any other tweaks that bring it closer to a particular existing EP. This one is currently a bit of a cross between a Wurly and a Rhodes (it has tines, but when you whack the keys the tone is more Wurly-like). My goal over time is to approximate more closely specific instruments, and I think this program moves that ball down the court a bit more.
Enjoy!
Edit: If you want to understand how the aliased square wave affects the sound, just mess with its pitch. Try small amounts first (i.e. less than 100 cents) and you'll get an idea of what it does. You can get many different "tine" tones out of this set-up, I picked settings that I particularly liked.
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