Make Noise 0-Coast User manual

5.19.16 REV 7
v.1.16

1
FCC: ----------------------------------------------------------------------2
Limited Warranty: ----------------------------------------------------3
Overview:------------------------------------------------------------4
Patch Notations: ----------------------------------------------------5
User Interface: -------------------------------------------------------------6
Panel Controls:-------------------------------------------------7
Default Sounds: ------------------------------------------------8
Getting Started:
Power Up:---------------------------------------------------------------9
MIDI and CV/Gate Controllers:--------------------------------10
ProGraM Buttons:-----------------------------------------------11
ProGram B:------------------------------------------------------------12
Circuits that Modify: --------------------------------------------------14
MIDI B: ------------------------------------------------------------------15
Signals: -------------------------------------------------------------------------16
Attenuation: ----------------------------------------------------------17
Attenuversion: -------------------------------------------------18
Control Voltage:-----------------------------------------19
The Core:------------------------------------------------------------20
The Timbre: ----------------------------------------------------------------21
SLOPE: -------------------------------------------22
Balance:--------------------------------------------------------23
The Magnitude:-------------------------------------------24-27
Beyond the Default Sound:---------------------------------------------------------28
Open Patch Points:----------------------------------------------------------------29
Overriding Normals:-------------------------------------------------------------32
Voltage Math:-------------------------------------------------------------33
Using the 0-Coast with other devices: -------------------34

This device complies with Part 15 of the FCC Rules. Operation is subject to the following two
conditions: (1) this device may not cause harmful interference, and (2) this device must accept
any interference received, including interference that may cause undesired operation.
Changes / modications not approved by the Make Noise Co. could void the user’s authority
to operate the equipment.
This equipment has been tested and found to comply with the limits for a Class A digital
device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable
protection against harmful interference when the equipment is operated in a commercial
environment. This equipment generates, uses, and can radiate radio frequency energy and, if
not installed and used in accordance with the instruction manual, may cause harmful
interference to radio communications.
makenoisemusic.com
Make Noise Co., 414 Haywood Road, Asheville, NC 28806
2

Limited WARRANTY: 3
About This Manual:
Written by Tony Rolando and Walker Farrell
Illustrated by W.Lee Coleman
Make Noise warrants this product to be free of defects in materials or construction for a period of one
year from the date of purchase (proof of purchase/invoice required).
Malfunction resulting from wrong power supply voltages, backwards or reversed eurorack bus board
cable connection, abuse of the product or any other causes determined by Make Noise to be the fault
of the user are not covered by this warranty, and normal service rates will apply.
During the warranty period, any defective products will be repaired or replaced, at the option of Make
Noise, on a return-to-Make Noise basis with the customer paying the transit cost to Make Noise. Please
contact [email protected] for Return To Manufacturer Authorization.
Make Noise implies and accepts no responsibility for harm to person or apparatus caused through
operation of this product.
Please contact [email protected] with any questions, needs & comments, otherwise... go
MAKE NOISE!
http://www.makenoisemusic.com

The 0-COAST is a single voice patchable synthesizer. It’s name reects the fact that it utilizes techniques from both the Moog and
Buchla paradigms (aka “East Coast,” and “West Coast,” due to their locations), but is loyal to neither and thus implements“no coast
synthesis.”
While the 0-COAST utilizes classic modular
synthesis techniques, we designed it to operate
with or without the use of patch cables. The
necessary connections have been made from
circuit to circuit (Fig. 1) so it operates as an
expressive, musical MonoSynth. Using only the
MIDI controller of your choice you could apply
new timbres to your existing musical forms!
Using the included Patch Cables you could get
more scientic, experimenting with new ways to
wire up the circuits. You might even forgo MIDI
altogether, disappearing into a cloud of analog
FM induced Sidebands and harmonics scattered
around a single fundamental drone that has
nothing to do with any form of music you’ve ever
known!
The second half of this manual travels deeper
into the operation of the 0-COAST, teaching you how to override the internal signal routing using Patch Cables so that you may
create new variations of the MonoSynth, experiment with drones, and allow the 0-COAST to converse with other analog synthesis
circuits, modular synths, and more.
4
Figure 1: Normalizations
31. Multiply CV INput
32. Slope: Cycle Illuminated Button <white>
33. Slope: Rise Panel Control
34. Slope: Fall Panel Control
35. Slope: Activity Window <green>
36. Slope: Vari-Response
37. Slope: End of Cycle (EOC) Activity Window <yellow>
38. Slope: Rise/Fall Time CV INput
39. Slope: End of Cycle (EOC) Gate Output
40. Slope: Trigger INput
41. Slope: CV OUTput
42. Contour: Onset Panel Control
43. Contour: Sustain Panel Control
44. Contour: Decay Panel Control
45. Contour: Activity Window <green>
46. Contour: Vari-Response
47. Contour: Decay Time CV INput
48. Contour: End of ONset (EON) Activity Window <yellow>
49. Contour: Gate INput
50. Contour: End of ONset (EON) OUTput
51. Contour: CV OUTput
52. Balance: CHannel 1 Signal INput
53. Balance: CV INput
54. Balance: Combo Pot
55. Dynamics: Combo Pot
56. Dynamics: Activity Window <orange>
57. Headphone/Line OUTput: Level Control
58. Headphone/Line OUTput: TRS Stereo Audio Signal, 3Vpp
59. Dynamics CV INput
60. Dynamics OUTput: Modular level Audio Signal, 10vpp

PATCH NOTATIONS :
In this manual, patch instructions will be notated like this (the represents a patch cable connected to the two jacks):
For example:
As you may have guessed, this is instructing you to patch the Square Wave Output ftom the 0-Coast’s Oscillator Circuit to the
External Input of the Balance Circuit. Don’t worry if it sounds daunting, you’ll quickly get the hang of it. Accompanying the
written patch instructions, you’ll also nd small, visual representations of the connections. Continuing the example above:
SCOPE NOTATIONS :
Circuit
Output
Circuit
Input
Oscillator
Square Wave Output
Balance
External Input
Number of Cycles
1 Second =Frequency in Hz
+5V
Figure 2:
Anatomy of a Signal Diagram
-5V
Time, Seconds or Milliseconds
1 Period or Cycle
0V
Amplitude, Volts
In this manual, patch examples are sometimes shown with an illustration that
resembles the signal(s) as displayed on an oscilloscope. These drawings are
for diagrammatic and/or conceptional purposes only and not intended
for laboratory use. Scope diagrams are not to scale.
55
Sample Figure:

usER InTERFA cE :
Panel Controls:
The knobs on any particular module are utilized to set values for their respective parameters. Often a
value can be altered by Control Voltage (CV) in an input jack, which can be visualized as an invisible
hand “turning”the knob. We will go into much more detail about CV, which is in many ways the
dening characteristic of the modular synthesizer.
The medium (white) knobs and large (grey) knobs are generally used for setting base values, while
small (white) knobs are used to Attenuate (i.e. “scale”) and/or Invert incoming CV.
=
=
=
Common knobs shown with associated
patch notation, when applicable.
Figure 4: Typ. Illuminated Button and Activity Window
Illuminated Buttons and Activity Windows:
The 0-Coast utilizes Buttons for certain functions and behaviors and <light>
or < ash> to indicate a variety of behaviors and conditions. Perhaps the
most common use is the <ashing red> Activity Window that shows the
Clock Rate; however, Activity Windows may also display signal amplitude
and polarity, MIDI Activity, or indicate alternate modes, for instance,
Self-Cycle.
Jacks:
Every jack in the 0-Coast is either an input or an output.
Jacks are patched together with cables. Simply plug one end
of the cable into an input and the other end into an output.
Patching an input to another input has no eect; patching an
output to another output has unpredictable eects and is
generally not recommended. Don’t worry though, you won’t
hurt anything by patching “incorrectly,” so don’t be afraid of
happy accidents...
Signal INput CV INput Trigger/Gate INput Signal OUTput
Normalizations:
The 0-Coast often takes advantage of the switching jack behavior such
that when nothing is patched, a Normalization, or pre-wired patch
connection, exists between circuits. For instance, the SLOPE CV
OUTput is Normalled to the MULTIPLY CV INput for pre-congured
modulation of Timbre.
Figure 3:
Figure 5: Typical Jack Labels:
6
Figure 6: Typ. Normalization Label
External CV (Control Voltage):
Because the 0-Coast works within the same voltage
requirements as Eurorack modules, the 0-Coast excels
when paired with an analog sythesizer, such as the Make
Noise Shared System (sold separately). As always,
Experimentation is paramount.

7
Panel Controls
Panel Controls:
27
28
14
15
4
56 16
21
20
10
11
18 197
3
12 13
25
34
36
38 39
46
44
43
48
47
42
56
35 45
33
37
32
26
1
2
9
8
51 59 60
58
57
55
54
52 53
17 23 24 30
22
31 40 41 49 50
Figure 7: Panel Controls
1. PGM A Illuminated Button <white>
2. MIDI A Activity Window <red>
3. MIDI INput Jack
4. MIDI B Activity Window <red>
5. Ext. CV OUTput
6. Ext. Gate OUTput
7. PGM B Illuminated Button <white>
8. TEMPO INput
9. TEMPO Activity Window <red>
10. CLocK OUTput
11. Stepped Random OUTput
12. Voltage MATH: CHannel 1 INput
13. Voltage MATH: CHannel 2 INput
14. Voltage MATH: CHannel Attenuvertor
15. Voltage MATH: Activity Window <red> / <green>
16. Voltage MATH: CHannel 1 OUTput
17. Voltage MATH: CHannel 2 OUTput
18. Oscillator: Triangle Wave OUTput
19. Oscillator: Square Wave OUTput
20. Oscillator: Pitch Panel Control
21. Oscillator: Pitch Fine Tune
22. Oscillator: LINear FM INput Attenuator
23. Oscillator: 1/V OCTave INput
24. Oscillator: LINear FM Input
25. Overtone: Panel Control
26. Overtone: CV INput Attenuator
27. Multiply Panel Control
28. Multiply: CV Input Attenuvertor
29. Multiply: Activity Window <orange>
30. Overtone: CV INput
31. Multiply CV INput
32. Slope: Cycle Illuminated Button <white>
33. Slope: Rise Panel Control
34. Slope: Fall Panel Control
35. Slope: Activity Window <green>
36. Slope: Vari-Response
37. Slope: End of Cycle (EOC) Activity Window <yellow>
38. Slope: Rise/Fall Time CV INput
39. Slope: End of Cycle (EOC) Gate Output
40. Slope: Trigger INput
41. Slope: CV OUTput
42. Contour: Onset Panel Control
43. Contour: Sustain Panel Control
44. Contour: Decay Panel Control
45. Contour: Activity Window <green>
46. Contour: Vari-Response
47. Contour: Decay Time CV INput
48. Contour: End of ONset (EON) Activity Window <yellow>
49. Contour: Gate INput
50. Contour: End of ONset (EON) OUTput
51. Contour: CV OUTput
52. Balance: CHannel 1 Signal INput
53. Balance: CV INput
54. Balance: Combo Pot
55. Dynamics: Combo Pot
56. Dynamics: Activity Window <orange>
57. Headphone/Line OUTput: Level Control
58. Headphone/Line OUTput: TRS Stereo Audio Signal, 3Vpp
59. Dynamics CV INput
60. Dynamics OUTput: Modular level Audio Signal, 10vpp

8
Figure 8: Default Sound
Figure 9: Drone

Power Up, Monitoring, and Signal Safety
It is recommended that the 0-COAST AC adapter is
plugged into a fuse-protected power strip with an On/O
switch; however, if that is not available, it is OK to plug it
into a wall outlet. Use only the Make Noise 0-COAST
15VDC Tip Positive AC Adapter to power the 0-COAST. To
turn on your 0-COAST, once you have the plugged the AC
Adapter into your AC outlet, attach the other end of AC
adapter to the jack on the side of the 0-COAST (Figure 10).
The signals inside the 0-COAST are much higher strength than typical instrument or line-level audio signals. We call these
signals “Modular Level.” For example, the OSCILLATOR Triangle OUT is a Modular Level output that has an amplitude of about
10 volts peak-to-peak, which is over 4 times “hotter” than that of the typical line-level signal. One reason for this wide
dierence in amplitude is that not all the signals inside the synthesizer are audio signals. Many of them are Control Voltages
which cannot be heard directly, but instead are used to control various elements within the 0-COAST. The higher amplitude
outputs of these signals allow them to be used reliably without signicant interference from other electronic sources such as
computers, appliances, radio waves, etc. Most importantly;
however, high amplitude signals allow for modulation across
the entire range of any parameter.
These very hot/loud output signals are quite capable of damaging
speakers or ears if not attenuated carefully before monitoring.
Whenever connecting any output from the 0-COAST to your mixer,
speaker system, amplier, or headphones, it is recommended that
you always start with the volume at zero and bring it up gradually
in order to avoid any damage.
The 0-COAST has a dedicated stereo LINE OUTput with a Stereo
Mini-Jack and a level control that outputs at typical line level,
making monitoring simple, Figure 12. The LINE OUT is the only
output we recommend plugging into your audio monitoring
system.
9
Line
OUTput
Monitor
e.g.:
Figure 12: Typical Output Connection
Always use the LINE OUTput when monitoring
with headphones or speakers, as it is the only
Stereo TRS output jack. Patching directly from
the DYNMC OUTput to headphones or
speakers sends a loud, potentially damaging, Mono
signal to one of the speakers, while the other
speaker remains silent.
Figure 11: Typical Playback Connections
Always protect your 0-Coast and other equipment by using a fused power strip
with power surge protection.
Figure 10: Connecting the Power

MIDI and CV/Gate Controllers
Once powered up, set all Panel Controls to“Default Sound” positions as indicated in Figure 8 on Page 8.
For MIDI control, use the included MIDI Adapter to plug your MIDI controller or sequencer to the MIDI Input on the 0-COAST
(Figure 13). The 0-COAST defaults to receiving MIDI on ALL Channels, so you should be able to strike any key or start a sequence
on your MIDI controller and see the MIDI Activity window <ash red> and hear a smooth, simple sound. If you do not hear
sound but you see the MIDI Activity windows lighting, please check your monitoring system and the “Default Sound” to ensure
that it is setup correctly. If you do not see the MIDI Activity Windows light <Red>, check the setup of your MIDI controller. It
should be set to transmit on at least one channel, and the cable should be attached to the MIDI OUT on the controller and MIDI
INput on the 0-COAST.
A MIDI controller also allows for use of the On Board Arpegiator. To Turn on the Arpegiator [PRESS] PGM_A and PGM_B. PGM_B
will <light> to indicate Arpegiator ON. The Default Arp behavior is such that you just [HOLD] Keys and they are played in the
order played until a key is released at which point, that note is no longer played. Set the Rate of Arpeggiation by [Tapping]
PGM_B. To turn o the Arp, [PRESS] both PGM_A and
PGM_B. The PGM_B will no longer be lighted and the
ARP will stop. For more information, see the MIDI
ProGraMming Quick Reference section at bottom of
page or at the bottom of the unit.
If you will be using a CV/Gate controller, locate the Pitch
CV and Gate CV OUTputs on this device. Connect the
Pitch CV Output from the controller to the 1V/Octave
INput on the 0-COAST and connect the Controller’s
Gate Output to the CONTOUR GATE INput, as shown in
Figure 16. Strike any key or start a sequence on your
CV/Gate Controller. You should see visual indication of
the GATE OUT. You should hear a smooth, simple
sound. If you do not hear sound, but you see the
CONTOUR and DYNAMICS Activity window lighting,
please check your monitoring system is setup correctly.
If you do not see the CONTOUR Activity Window
lighting, check that you have the GATE OUT from your
controller turned on, programmed correctly, and
patched to the CONTOUR GATE Input, as in Figure 16.
If you see only the CONTOUR Function window lighting,
and not the DYNAMICS Activity Window, check that you
have the DYNAMIC Panel control set to at least 3 o’clock
and also make sure the “Default Sound” is properly set.
If you are not using MIDI or an external CV Controller,
set-up the Default Sound Drone (Figure 9 on Page 9).
10
Figure 14:
Typical MIDI Connecctions via Adapter
To MIDI OUT on
MIDI Controller
Stereo (TRS)
Minijack
Mono (TS)
Minijack
Tip
Ring
Sleeve
Figure 13: Stereo (TRS) Minijack vs. Mono (TS) Connections
Figure 15: Connecting the 0-Coast to the Korg SQ-1 Sequencer via MIDI
Note: if you will be using MIDI from a KORG MIDI device with MIDI on Mini-Jack
such as the SQ1 Sequencer, the MIDI Adapter Cable is not needed. Simply connect the
two devices using a Stereo (TRS) Mini-Jack cable as shown in Figure 13.

PROGRAM BUTTONS
The PGM_A and PGM_B buttons allow access to a number of functions:
Basic Actions
• HOLD PGM_B : PANIC!
Stops MIDI and Arp Notes. If you encounter a "stuck" MIDI note, this will make it disappear. If using the Latch & Shift
Arpeggiator type, this will clear all the notes.
• PRESS PGM_A & PGM_B : Run/Stop Arpeggiator
This switches between "normal" keyboard play and Arpeggiation. See Page 34 for more information about Arpeggiator
types. NOTE: the Arpeggiator is only played over MIDI.
Program Pages
The Program Pages allow for setting a number of paramaters that are not directly accessible from the panel of the 0-Coast.
They can be congured to react in various ways to MIDI data. For example, the CV OUTput can be assigned to velocity, note
number, mod wheel, et al.
The 0-Coast also has a fun arpeggiator with two modes, an additional LFO at the MIDI B outputs, and the ability to switch
between Legato and ReTrigger playing styles.
Here is a description of how to navigate the pages, followed by the page parameters:
Navigation
• [HOLD] PGM_A : go to PGM Pages. MIDI_A & MIDI_B will <FLASH twice>, and PGM_A LIGHTS to indicate program ready.
• [PRESS] PGM_A : select PGM Page. Each [PRESS] of PGM_A moves to the next page. When on page 7, which is the last
page {Calibrate}, [PRESSING] PGM_A exits the Program Pages.
• [HOLD] PGM_A : set Page Parameter to DEFAULT, MIDI_A & MIDI_B will <FLASH twice>. This will reset the current page to
the factory default setting.
• [PRESS] PGM_B : set Value of Page Parameter, PGM_B indicates the Value. Each [PRESS] of PGM_B while on a Page will
select the next value for this Page's parameter.
• [HOLD] PGM_B : Exit PGM Pages.
11

Here are the seven pages. Each page is indicated by number of presses it took to navigate to it, as well as behavior of Activity
Windows while on the Page. For example, the second page is {Legato}, which takes [TWO PRESSES] to reach, and is indicated
by PGM_A = <Pulsing>.
1. {Arpeggiator}: PGM_A = <ON>
This selects one of two arpeggiator types. (Arpeggiator is activated from the performance page by [PRESSING]
PGM_A and PGM_B, with PGM_B <lighting> to indicate Arpeggiator = ON.
• PGM_B = <OFF> – Latch & Shift = OFF (default).
This is a traditional arpeggiator, which plays any held notes in the order they are played, at the 0-Coast's
current Clock Rate.
• PGM_B = <ON > – Latch & Shift = ON.
This arpeggiator adds notes in the order they are played, and continues playing them in order after they are
released. Playing any note a second time removes it from the arpeggio. Up to twenty notes can be added. If
more than twenty notes are played, each new note causes the rst note to be removed from the arpeggio.
2. {Legato}: PGM_A = <PULSES>
• PGM_B =<ON> – Legato = ON (default). MIDI A Gate goes high when the rst note-on is received, and does not go
low until all note-os have been received. In other words there is a single Contour until all notes are
released.
• PGM_B = <OFF> – Legato = OFF. MIDI A Gate goes high with each new note-on, even if the previous notes are still
being held. With short Onset times, this can result in a new Contour for every note played even if keys are
not released between notes.
3. {MIDI Learn}: MIDI_A = <ON>
This allows the possibility of MIDI A and MIDI B to receive data on dierent MIDI channels. Select which
channel(s) are to be programmed, then send MIDI data to allow it to learn, then [HOLD] PGM_B to nish
learning.
• [PRESS] PGM_B to select MIDI CV channel
• MIDI_A = <ON > – Ready to Learn MIDI A
• MIDI_B = <ON>– Ready to Learn MIDI B
• MIDI A & MIDI B =<ON> – Ready to Learn Both
• [Play] MIDI data on Channel to be Learned
• [HOLD] PGM_B – Learn = <ALL LEDs FLASH 2X> to indicate Learned & Exit
• [HOLD] PGM_A – set to MIDI CH . ALL (default)
4. {MIDI B CV source}: PGM_A = <ON>, MIDI_B = <PULSES>
• PGM_B = <OFF> – Note number.
• PGM_B = <ON> – Velocity (default).
• PGM_B = <PULSE> – Mod Wheel.
• PGM_B = <FLASH> – LFO ([TAP] PGM_A twice or more to set frequency). This is a Triangle wave LFO with
user-dened frequency.
12

(CONT’D)
5. MIDI B Gate Source: PGM_A = <ON>, MIDI_B = <FLASHES>
• PGM_B = <OFF> – Gate goes high with Note-on
• PGM_B = <ON> – Gate goes high when Velocity > 50%
• PGM_B = <PULSE> – Gate goes high when Mod Wheel > 50% (default)
• PGM_B = <FLASH> – LFO ([TAP] PGM_ A) This is a square wave LFO with User-dened frequency.
6. MIDI Clock: PGM_A = <FLASHES>
• PGM_B = <OFF> (default)
• PGM_B = <ON> – ON. Tempo follows the rate of the incoming MIDI clock.
7. Calibrate: MIDI_A & MIDI_B = <ALTERNATE>, PGM_A =<ON>, PGM_B = <OFF>
• [PRESS] PGM_B in order to Calibrate (Note: it takes time). This procedure calibrates the internal
connection of the MIDI-CV converter to the Voltage Controlled Oscillator.
13

Follow the Arrows!
Aside from the MIDI circuit, the 0-COAST has a 100%
analog signal path with Panel Controls for all of the
parameters that shape the sound. It helps to learn
what each of these circuits does to create, modify,
and modulate the sound. The signal path travels
from the left to right side of the instrument, starting
with the ConTRoL circuits and ending with the
DYNAMICS circuits. If you look at the face of the
0-COAST, you will notice gold wires representing this
signal ow (Figure 1). Some of these connections
are always in place, while others are Normalizations,
which means they could be re-routed using patch
cables. These Normalizations are indicated wherever
you see the gold wire terminating in an arrow
pointing to an Input jack (Figure 17).
Outside Inuence, Control: CTRL
This is where the MIDI, CLOCK, RANDOM VOLTAGE, and CV Processing circuits are
located. These circuits allow for controlling, modulating, and synchronizing the
0-COAST from external sources via the MIDI IN, External CLOCK IN, or TAP TEMPO
functionality.
The MIDI Input uses a Mini-Jack connector as opposed to the more traditional
and cumbersome DIN connector. This Mini-Jack connection is very simple and
lightweight if you will be using MIDI from a MIDI device with MIDI on Mini-Jack
such as the Korg SQ1 Sequencer or the Electribe 2. Simply connect the two
devices using a Stereo TRS Mini-Jack cable, as depicted in Figure 15. To use the
0-COAST with traditional DIN devices, use the included MIDI Adapter cable. Once
MIDI communication is established (See Getting Started Section), you may want
to customize the MIDI settings for some special use. We have provided two
dierent ways for users to modify MIDI settings: Local Programming and Sysex
programming. For more information, see the section titled: “Using the 0-Coast
with Other Devices” in the second half of this manual.
If you follow the gold wire from the MIDI A CV circuit, you will see that it is
connected to the OSCILLATOR PITCH (Figure 18). This wired connection
between the MIDI A circuit and the OSCILLATOR circuit allows for playing the
PITCH of the 0-COAST from a MIDI controller. To hear this, rst, set 0-COAST to
the “Default Sound” (Figure 8) and then patch your MIDI controller as in Figure
14, and then play some keys or send a sequence from your MIDI controller. This
Connection is always in place and may not be re-routed; however, you could
patch a CV Signal to the 1V/Octave input on the OSCILLATOR to control PITCH
from a dierent source or two sources at once (i.e. MIDI and CV).
14
Figure 17: Typical Normalization Label
Figure 18:
MIDI A CV: Normalizations
Circuits that Create, Modify, and Modulate the Sound
Figure 16: Connecting the Korg SQ-1 to the 0-Coast via CV/GATE Connections

Figure 19: MIDI A and B Normalizations
MIDI B
As demonstrated previously, MIDI A CV
and Gate are always connected to
Oscillator Pitch, and Contour Gate (the
latter connection can be overridden by
patching). There is, however, an
additional option for MIDI on the
0-Coast: MIDI B has a CV and Gate
output. These jacks output voltage in
the same range as every other output in
the 0-Coast, but unlike other outputs,
they can be congured to react in
various ways to MIDI data. For example,
the CV output can be assigned to
velocity, note number, mod wheel, or
aftertouch. If you do not require
additional MIDI CHannels, MIDI B CV
may be set as an additional Triangle LFO
and MIDI B Gate may be set as an
additional Square LFO. See the MIDI
ProGraMming section for details on how to make these settings. Addionally, there is a quick reference on the underside of the
0-Coast that denes all of these settings and how to make them.
If you follow the gold wire from the MIDI A Gate circuit, you will see that it is Normalled to the CONTOUR GATE INput (Figure 19).
This Normalization between MIDI A Gate and CONTOUR allows for controlling the Amplitude of the 0-COAST by triggering the
CONTOUR circuit, which is Normalled to modulate the DYNAMICS circuit. This means that with nothing patched to the CONTOUR
Gate IN and DYNAMICS CV INput Jacks, the CONTOUR Signal OUT is wired to modulate DYNAMICS. In order to hear this, set
0-COAST to the “Default Sound” (Figure 8, Page 8) and play some keys or send a sequence from your MIDI controller. It is possible
to re-route this wire by patching to the CONTOUR Gate IN. The technique of using an organ-style, chromatic black and white
keyboard to control a synthesizer is most associated with East Coast synthesis techniques, popularized by the MiniMoog.
The CLOCK, RANDOM VOLTAGE, and CV Processing are described in detail in the second half of this manual. Notice, there are no
gold wires leaving these circuits. This is because they are used for more advanced programming of the 0-COAST and must
therefore be patched to their destinations.
MIDI Controlled Arpegiator
Arpeggiator: PGM_A=[ON]- This selects one of two arpeggiator types. (Arpeggiator is activated from the performance page by
{pressing] PGM_A and PGM_B at once.)
PGM_B = [OFF] – Latch & Shift OFF (default). This is a traditional arpeggiator, which plays any held notes in the order they are
played, at the 0-Coast's current Clock Rate.
PGM_B =[ON] – Latch & Shift ON. This arpeggiator adds notes in the order they are played, and continues playing them in order
after they are released. Playing any note a second time removes it from the arpeggio. Up to twenty notes can be added. If more
than twenty notes are played, each new note causes the rst note to be removed from the arpeggio.
15

GeTTING STARTED : SIGNALS
Audio:
Audio signals change voltage levels, or oscillate, in
the frequency range that is audible to human
beings. This is the type of signal that you can
actually hear when you send it to your monitoring
system. In some cases, Control signals can also
oscillate at audio rate.
Example:
Triangle and Square Waveform OUTputs
CV: LFO (Low Frequency Oscillator):
The term “control voltage” refers to any continuous
signal that you use to control a parameter. In many
cases, CV moves at too low a frequency to be
audible if amplied. Instead, you will hear the
results of a CV changing an audible parameter.
Example:
SLOPE OUTput
+8V
0V
One Cycle = 5 Seconds
Figure 21: A Low Frequency Oscillator
Time
16
Every element of the 0-Coast exists with
signals in mind, whether creating,
modifying or sending them. Signals
interacting with one another is the heart
of the way modular syntheisizers work.
Signals appear at outputs and can be
patched to inputs. They take the form of
voltage at various levels within the range
of +/-10V.
There are several basic signal types. Each
input tends to“expect” a particular type,
but since they all take the same form
(+/-10V) there are many cases where
using the “wrong” type is just as musically
useful as the “right” one. Don’t get too
hung up on it. There are quite a few “gray
areas” where a signal could be interpreted
as more than one type depending on its
use, so again, experimentation is
paramount. Here are some basic signal
types, accompanied by graphical
representation of voltage over time:
+5V
Figure 20: An Audio Rate Triangle Wave
-5V
6 KHZ = ~G8
One Cycle = 0.166 mS
CV: Random Voltage
Random Voltage, as you might have expected, is not
predictable. In a more subtle use, Random Voltage can
liven up a patch, creating shades of unpredictability. It
may be used to generate unpredictable timbral shifts
in predictable melodies, or it could generate unpredict-
able melodies with timbral and rhythmic shifts created
by gestural control of the performer. It provides some
voice for the synthesizer’s “Id,” thus allowing you to jam
with the machine. At the extreme, with creative
patching it can be used as the hub of self-contained
generative music systems.
Example: Stepped Random Output
+10V
0V
0123456789
Number of Clock Pulses
Figure 22: Stepped Random Voltage
Gates and Clocks:
Triggers, Gates, and Clocks are used to initiate events and switch between states. Instead of being continuous like CV,
they have only two states, Gate High and Gate Low. “Gate High” is usually a +8V signal whose length (in time) is variable
(Figure 23). “Gate Low” is 0V (or no signal at all).
There are a lot of similarities between these signal types. Keep in mind, the 0-Coast responds to like signals in similar
ways. A Gate; however, is longer, anywhere from a few milliseconds to“always on.” The length of the Gate (in time) is
referred to as the Gate’s Width. Similarly, Clock Signals are like Gates that go High”at regular intervals (Figure 24). Gate
and Gate Outputs are specially made to patch such inputs, but most such inputs will respond to any signal that moves
from 0V to 2V or higher.
Examples:
Gate Outputs: EON Gate Output
Clock Outputs: CLOCK OUTput
+8V
0V
Gate High
Gate Low
+8V
0V
Figure 23: Typical Gate Signal Figure 24: Typical Clock Signal
Time Time

Attenuation 17
Attenuation
To Attenuate a signal is simply to decrease its
amplitude. Attenuating an Audio Signal has the
eect of making the signal softer/quieter.
Attenuating a Control Voltage signal has the
eect of decreasing the Modulation Depth,
reducing the amount of eect the source signal
has over the destination.
Examples
0-Coast has a Multiply Attenuvertor, which
controls the Depth of Modulation to its
respective parameter (more on that later) For
CV Input Attenuators, such as OVERTONE, zero
amplitude is at full counterclockwise, resulting
in no modulation regardless of the signal input.
+10V
0V
Figure 25:
Random Stepped Voltage
Figure 26:
Random Stepped Voltage
(Attenuated)
+10V
0V Time
Time
Figure 27:
Random Stepped Voltage
(Fully Attenuated = 0V)
+10V
0V Time
Inversion
To invert a signal is simply to turn it "upside
down." For example, inverting a +5V oset results
in a -5V oset. Inverting a positive-going
sequence (Fig. 28) results in a negative-going
sequence with the same "intervals" between
steps (Fig. 29). When applied to a melody, this is
a classic technique of Counterpoint.
Inverting Audio Signals has no eect on their
sound in most cases, except for when mixing
them with related signals, or when inverting
them multiple times per cycle (see Make Noise
modDemix,“Ring Modulation.”)
An Attenuverter allows a signal to be inverted
or non-inverted at a user-denable percentage of
its original amplitude, with Zero at 12 o’clock. CV
inputs, such as MULTIPLY CV, have onboard
Attenuverters in order to easily Modulate a
parameter in either direction, at any Depth.
+10V
0V
0V
Figure 28:
Random Stepped Voltage
Time
+10V
0V
Figure 29:
Random Stepped Voltage
(Inverted)
Time
0V

18
Attenuversion
An example user for the Attenuverter on the Control Processor’s CH.2 INput is
patching a variable depth Vibrato. If you patch a Cycling SLOPE directly to the 1V/Oct
input on the Oscillator, you get a vibrato, but with a range of many octaves. Instead,
try patching it to the right input of the Control Processor, take either output to 1V/oct,
and adjust the Depth using the CH. 2 attenuverter. With this patch you can still
control the pitch of the Oscillator using the MIDI In. The other output is identical to
the rst, so you could control modulation Depth from SLOPE to two dierent
parameters at once using the single Attenuverter.
If nothing is patched to the left input, it is disregarded. If nothing is patched to the
right input, it is Normalled to an Oset, which can also be attenuverted. The perfect
example of using this oset by itself is the Default Sound Drone patch, Figure 9. In
this patch, the oset is patched to the Dynamics circuit to allow sound to pass
through at all times.
As mentioned above in (1), the left input is always at "Unity" (there is no control over
its amplitude), while the right input comes with an attenuverter. An example of the
usefulness of inverting a signal: say you want to have the value of Overtone go lower
as Contour goes higher, so it is modulated by Contour in the opposite direction from
the Dynamics circuit. To do this, you could set Overtone full clockwise, patch Contour
to the CH.2 input, set the CH.2 attenuverter full counterclockwise (as in Figure 31) ,
patch its output to the Overtone CV input, and set the OVERTONE CV Attenuator Full
CW.
Since the two outputs are identical to each other, the Control Processor is also a
multiple and can be used to send one signal to two destinations. Just patch to the
right input and turn the attenuverter all the way clockwise, and you have two
identical outputs available. If the signal you are patching is also normaled somewhere,
it could be sent to a total of three destinations. For example, Slope could be patched
to MULTIPLY (via normalization), Balance, and Overtone all at once.
+10V
0V
Figure 30:
Random Stepped Voltage
Time
+10V
-10V
Figure 31:
Random Stepped Voltage Attenuverted
Time
0V

GeTTING STYARTED : Control Voltage
Unipolar Control Voltage: “Range”
Now that we’ve discussed the use of Control Voltage to manipulate parameters over time, it is important to introduce the
concept of attenuation as a method of controlling the range of movement.
Using a unipolar Control Voltage like from SLOPE, it is possible to control the range and direction of modulation, in relation to
the 0-Coast’s Panel Control setting, simply by adjusting the position of the associated INput Attenuvertors. For example, using
the SLOPE normalization to the MULTIPLY CV INput, this has the eect of manually rotating the Multiply Panel Control knob over
time, starting with the initial Panel Control setting shown below.
19
Figure 36: Adding the SLOPE’s unipolar voltage to the MULTIPLY Panel
Control Oset. The resulting “range” of movement is indicated by
the crosshatched area of the MULTIPLY Panel Control.
Figure 34: Adding the SLOPE’s unipolar voltage to the MULTIPLY
Panel Control knob. The resulting“range” of movement is
indicated by the crosshatched area of the MULTIPLY Panel Control.
Figure 35: With the MULTIPLY INput Attenuverter set to 12 o’clock, no voltage is
added to the MULTIPLY Panel Control setting and therefore there is no audible
eect.
Figure 37: Subtracting the SLOPE’s unipolar voltage from the MULTIPLY
Panel Control Oset, using the MULTIPLY INput Attenuvertor to invert
the signal’s polarity. The resulting “range” of movement is indicated by
the crosshatched area of the MULTIPLY Panel Control.
You should now hear the Triangle wave changing frequency in time
with the SLOPE Cycle (Figure 33 ). If you don’t hear any change,
follow the line from the EXPO jack to its associated input Attenuator,
which controls the amplitude of the CV source as it is applied to the
destination. As you turn it up, the Modulation Depth will increase,
causing greater sweeps in frequency. The position of the grey
FREQuency pot for VCO A will have a big eect on the sound, as it
sets the base frequency from which modulation starts (Figure 36).
+5V
-5V
Time
Figure 32:
Triangle Wave: Base Frequency
(No Control Voltage Applied)
0V
+5V
-5v
Time
0V
Figure 33:
Triangle Wave:
Exponential Frequency Modulation