You can use this link to get the manual:
https://dl.dropboxusercontent.com/u/...e%20Synths.pdf
it's really the best suggestion! when you're reaching for some particular sounds, if you get a good grasp on synthesis you don't have to relly on anyone else for your musical creations. Best advice you can get!
But while I'm at it: the first sound you ask about has some stricking characteristics that should point you in the right direction. Leaving distortion asside for now, you need a really noisy source:
try having two sawtooth waves, tune the second one octave appart (+12 semitones) and detune it to taste, add some noise into the mix. The sound almost speaks something like "peeeooooouuuu", suggesting there's a movement from higher frequencies to lower ones. So, begin with filter one and choose an analogue kind of filter (say 2 poles for starts, but you can experiment), your resonance needs to be set way up (screaming territory) and your filter cuttoff somewhere round 3'o clock. Ok, so try settings like: 0 attack, some decay like 9'o clock or something, no sustain, some release. When you hit a key now, you should feel the quick byte and agressivness of the filter rapidly closing. Try to adjust the env. amount (amount of filter modulation) to find the sweet spots. Once you're happy with that, experiment with the analogue boost, that's turning OSC MIX to a position past 12'o clock. If you like it, fine, if not, try to choose another kind of distortion for the filter, like rectifier or hard (I'm guessing here all the way, so experiment with these). Almost done here. Add some unisson, with some detune and pan to get big and wide. Add some distortion, choose its type carefully while playing keys. If you find this is to static, assign the distortion's amount parameter to the filter envelope (same envelope in this case makes for tighter results, also the case in many many kinds of leads.
Ok, to much low end content there probably for a lead. So, filter mode in serial, filter mix all the way right. Choose high pass, set it so that some of the low end rumble gets away from the mix entirely. Add some resonance. What this will do, I think, is it will enhance the grit of low'mid range you set it to, after the filter movement takes place.
Almost done now. Set a very short attack, so that it doesn't click. You need that setting that's called punch (something, don't remember exactly) turned up for extra sharpness, don't know if I'd leave the oscillators running free or not (test it), if not just set some phase inicial value to the oscillators (that's menu digging or clicking if using VC), and violá, you should be close enough.