The point of percussive instruments is that they make a quick noise. If they have a main frequency rather than a white noise spectrum then great, but their job isn't to provide the harmony so using them as a counter example is silly.
Xylophone, marimba, glockenspiel, hammered dulcimer, handbells/chimes, etc. can all used for melody or harmony.
What makes the argument silly is that western music hasn't used anything approaching exact frequency ratios since the advent of equal temperament in the 1700s, because nobody wants to have separate instruments for playing in different keys, nor retuning something the size of a piano or harpsichord or harp every time you change keys. So instead, all of the notes are just slightly out of tune, so that everything sounds equally close to being in tune regardless of what key you're playing in. We've been doing that for three centuries, and it doesn't seem to bother anyone.
And we've used tritones in music for centuries, and apart from the early church calling it the devil's interval, the roughly 45:32 ratio is as far from a small-integer ratio as you can plausibly get in modern western music, but most people wouldn't call it dissonant. I mean, listen to "Maria" from West Side Story, and tell me that it's dissonant.
We're used to what we're used to, and we find it familiar and comfortable. For closed voicing chords, that's about all I'd agree is probably universally true.
That said, when you get into ratios greater than 2:1, you do start to get something interesting because of the harmonic series, and lower notes reinforcing the upper notes. And that creates a musical richness that can't really exist with other ratios, but that's talking about an octave, an octave plus a fifth, two octaves, two octaves and a third, two octaves and a fifth, two octaves and a horribly flat minor 7th, three octaves, three octaves and a major second, major third, flat tritone, fifth, etc. But that's open voicing, and the only reason the intervals matter in closed voicing is because there are usually notes down below whose harmonics overlap with the chord as a result.