Actually, if it's the sound I'm thinking it is, it's a bit more simple then that... Just use sawtooth on both Oscilators. Turn the FM and Ring Mod all the way up. Sub Osc like 1 or 2 a clock, set the osc1's semitone all the way down, then select osc2 and set its semitone like -19 or something. Lfo 1>Osc1>+41 - select the square wave (I was wrong after all) and turn it to max speed. Set the filter1 to high pass, resonance like 11'0 clock, and play a few notes while fiddeling with filter cuttoff. But what's important to notice is, that when you change osc1 semitone, moving it up, it acts almost as if you're using an Lfo, broadening the lenght at which one osc catches up with the other's pitch (because of the fm), and it gets very close to the sound you're looking for, if the settings are just right. A little touch of reverb sounded good here, and a touch of noise to, 'cause it adds another layer of air to the sound... Now it's just a matter of adjusting the fx section to taste... The Osc Mix should be close to the middle, either way, as the os1 is playing just something like a bassy scratchy sound and the second has all the griiting, screaming sound. Also ad some filter envelope modulation, with a touch of attack, decay and release (yeah, no sustain in this case), pay close attention to this if your going to use the arp. If you want to get into the Bass freqs (opening up the filter), I'd say go for two filters, set the second one to lowpass, with some resonance, and turned to 11'o clock (near that area), so that it smooths out the otherwise really boomy bass you get - ser4 or 6. After this, try and put the Lfo at minimum speed and the osc1 a bit up - see what happens, it's the other phaser like sound, with some adjusting tweaks to it. My advice would be to save both presets and make a dialogue out of it. (It's also interesting to check how this sound works when you select osc sync), with the second filter turned to analogue 4p is also fun... I have set the key follow of filter one to -15 to. I hope this was helpfull.
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