The first Raging Bull demo is a cheesy/cheeky little track in a "retro" electro vein, which aims to demonstrate some traditional "Moog-like" filter usage - with varying degrees of Resonance, Cutoff, VCA drive etc.. Some lovely rounded "woody" tones are achieved, with the VCA drive adding a pleasing fatness to the overall sound. Some of the patches also have a "brass-like" quality to them. Every bit of filtering you hear in this track is from the Raging Bull, apart from some automated software filtering on the drums. All synth sounds are either running through the Raging Bull, or are created by its self-oscillation.

PATCH DETAILS:

1. The sound source for the main bassline was the Intellijel Rubicon: Saw, Double-Pulse (up an octave) and Square SUB (-1 oct), fed into a mixer and then into the Raging Bull.
2. The sequence comes from Silent Way, and various envelopes are used: Envelope 1 controls the Raging Bull's VCA; Envelope 2 controls the PWM of the Double-Pulse wave; and a gate triggers a Tiptop Z4000 ADSR which controls the Bull's Cutoff
3. The Cutoff ADSR is mixed in CV Tools with the main sequence, so that the filter tracks the sequence.
4. The envelopes are tailored so that longer held notes - eg: when the Portamento is used - produce a nice filter sweep (and also affect the PWM where applicable)
5. During the recording different balances of the three waves are brought in manually, and the various filter controls (Cutoff, Resonance, Input Level) are manipulated. The filter envelope is also tweaked, as is its polarity (in CV Tools). The Rubicon Double-Pulse's PW is also manually tweaked.
6. A second sound is used to create an arpeggiated part over the top. This comprises of a Double Saw and normal Saw from the Rubicon, with Silent Way envelopes controlling the Raging Bulls Cutoff and VCA. A slower Maths envelope is also sweeping the Cutoff up and down every 2 bars. The Cutoff and Resonance is manipulated during the recording. The Silent Way envelope's Sustain is also automated at various points to make the filter and VCA envelopes more "spiky".
7. A third sound is derived from the Intellijel Dixie (again through the Raging Bull), and variations on this are used at different points. The main Rubicon bassline riff is sent into the Dixie's Sync input, with the Dixie itself left to drone on one note. The Rubicon also FM's the Dixie via its Linear FM input - so it is being Synced and FM'd by the same sequenced Rubicon part. At other points the FM is removed, and a more traditional "Osc Sync" sound can be heard - the part appears to be more static, in terms of pitch. During some sections the FM is manually faded out over a number of bars, leaving the simple droning "Osc Sync" sound. The Dixie's waves (Pulse and Saw) are then saturated and manually crossfaded within the WMD Multimode VCA. This sound also generates a fourth patch, where the Silent Way envelope is altered to produce a very short percussive sound, almost like a cowbell.
8. The Raging Bull's self-oscillation was also used to create a part which doubles the main bassline near the end (07.30 onwards), but in a higher register, and employing a strange harmony. Wobbleboard-esque "whomps" appear now and then, with Maths' whip-like envelopes employed to produce the the self-oscillation pitch shaping. The self-oscillation was also used to track the bassline in order to create a sub-bass (at 00.55), and various bleeps and zaps (06.55 onwards). The latter were created in the following fashion: Initially a re-triggered Silent Way envelope controls the cutoff of the Raging Bull's self-oscillation; then this is mixed in with a randomly-sequenced Rubicon output to create filter FM; finally the output of the Turing Machine is added to randomly shift the Cutoff up and down.
9. Some additional sweeps - created via modulation/ FM of the self-oscillating filter - were borrowed from Demo 02 and added to bring extra interest to certain sections (see: 01:08 onwards). No sampled sound effects were used at all - just the Bull in full effect!
10. Occasional Highpass Filtering (in software) was applied to the main Raging Bull "bassline" when it plays in the higher octave, but all other filtering is the Raging Bull alone