µBraids SE
Eurorack Module
TD-UBSE-E
Designed by Daniel & Michael Gilbert of Tall Dog
Electronics in Western Massachusettstall-dog.com | ubraids-se.com
Based on the microBraids (aka µBraids) module
designed by Magpie Modular and Neutron Soundmagpiemodular.com
neutron-sound.com
Based on the Braids module designed by Olivier Gilletof Mutable Instruments
mutable-instruments.net
Manufactured by Elecrow in Shenzhen, China
elecrow.com
Assembled at Rust Temple in Easthampton, MA
rusttemple.today

cba
Licensed under Creative Commons
Attribution-ShareAlike 4.0 International
creativecommons.org/licenses/by-sa/4.0
Source materials are available on GitHub
github.com/loglow/uBraids_SE

Contents

2

About................................................................................................ 3
Included Parts............................................................................... 3
History.............................................................................................. 4
Warranty......................................................................................... 5
Inputs & Outputs.......................................................................... 6
Models.............................................................................................. 7
Options..........................................................................................19
Calibration....................................................................................24
Extras..............................................................................................25
Firmware Warnings..................................................................26
Firmware Update.......................................................................27
Serial Programming.................................................................28
JTAG Programming...................................................................29
Documentation..........................................................................30
CC BY-SA 4.0.................................................................................31
Support..........................................................................................32
Who We Are..................................................................................32

About3

Braids is a voltage-controlled digital oscillator/soundsource with a wide range of creative and useful soundgeneration algorithms (aka models).
This redesigned µBraids SE (Special Edition) is a newrevision of µBraids that updates and simplifies thecomponent layout and has a new panel design. It
utilizes a custom miniature segmented LED module,
eliminating the need for a second microprocessor.
µBraids SE remains fully compatible with future
upstream Braids firmware upgrades and any otheralternate firmwares that are compliant with thestandard Braids design.

Included PartsµBraids SE includes a standard 16-pin to 10-pin
Eurorack power cable and two sets of mounting screws
for racks/enclosures with either M2.5 or M3 threads.
The TD-UBSE-E/B variant has a matte black front panel
with gold markings made from FR-4 (glass-reinforced
epoxy laminate) material. The included mounting
screws are black.
The TD-UBSE-E/S variant has a satin silver front panel
with black markings made from anodized aluminummaterial via the Metalphoto process. The included
mounting screws are silver.

History

4

The original Braids (mutable-instruments.net/
modules/braids) was designed by Olivier Gillet of
Mutable Instruments (mutable-instruments.net/
about) under a CC BY-SA 3.0 (creativecommons.org/
licenses/by-sa/3.0) license. Braids is a macro-oscillator
with multiple intricate digital synthesis algorithms.
Each algorithm is controlled by two continuously
variable parameters, both of which are voltage
controllable. It is available as a 16HP Eurorack module.
Source: github.com/pichenettes/eurorack
The original microBraids (aka µBraids) (store.
magpiemodular.com/products/microbraids-pcb) isa full-functionality adaptation of Braids designed by
Magpie Modular (magpiemodular.com) and NeutronSound (neutron-sound.com) and is available only as
a bare PCB (printed circuit board). It is 8HP (exactly
half the original width) and features an OLED display
driven by a 2nd processor. Nothing else has beenaltered component-wise so any future firmware
upgrades or alternate firmware such as Bees-in-theTrees (timchurches.github.io/Mutated-Mutables) will
work fine.
Source: github.com/MagpieModular/microBraids

Warranty

5This product is covered under warranty for one year
following the date of purchase as indicated on theoriginal sales receipt. This warranty covers any defectin the manufacturing of this product. This warranty
does not cover any damage or malfunction caused
by incorrect use—such as, but not limited to, power
cables connected backwards, excessive voltage levels,
exposure to extreme temperature or moisture levels,
physical damage due to impact, or any aftermarket
physical or electrical modifications or repairs.
This warranty covers either repair or replacement,
at our sole discretion. This repair or replacement issubject to verification of the defect or malfunction andproof of purchase as confirmed by showing the model
number on an original dated sales receipt. Shippingand handling fees are to be paid for by the customer.
Please contact support@tall-dog.com for a return
authorization prior to shipping anything to us. Please
understand that we will not be able to service units
under warranty that have been modified or previously
repaired by the customer or a third party.

Inputs & Outputs

6

TRIG — This trigger input serves three purposes:
1. Certain physical models need to be triggered by apulse on this input to generate a sound.
2. The other models will treat the trigger as a reset
signal, bringing the phase of the oscillator(s) to 0°.
3. This input can also be used to trigger an internal AD
envelope applied to the parameters of your choice,to create sound animation and attacks without anexternal envelope module.
V/OCT — V/octave frequency CV input.
FM — Frequency modulation CV input. The scale andpolarity of this signal is set by the FM attenuverter.
TIMBRE and COLOR — Control voltages for the Timbre
and Color parameters. A value of 0V corresponds tothe minimum position of the knob. A value of +5V
corresponds to the maximum position of the knob. This
CV is offset by the current position of the knob.
OUT — Signal output. Loudness is model-dependent.
For example, a pure sine wave is always at maximum
amplitude; while a ring-modulated sine-wave will havepeaks and valleys due to amplitude modulation, andwill thus sound quieter.

Models

7

CSAW
This model is inspired by a quirk/defect of the Yamaha
CS80 sawtooth wave shape, consisting of a fixed-width“notch” after the raising edge. The width of the notch
can be controlled by TIMBRE and its depth and polarity
can be controlled by COLOR to produce phasing effects.

^лn_This model produces the classic waveform trajectoryfrom triangle to sawtooth to square to pulse found insynthesizers such as the RSF Kobol or the Moog Voyager.
TIMBRE sweeps through the waveforms. COLOR
morphs from several tonal characters by increasingly
removing the high-frequencies with a 1-pole filter, andrecreating them with a waveshaper.

лϑπnThis model blends a sawtooth wave with dephasing
control, with a square wave with PWM. TIMBRE
controls the dephasing amount or pulse width, andCOLOR morphs the waveshape from sawtooth tosquare.

Models Cont’d

8

FOLD
This model is built with sine and triangle oscillators
sent into a wavefolder. TIMBRE controls the wavefolder
strength, and COLOR controls the balance between thesine and triangle signals sent to it.

ϒϒϒϒThis digital synthesis algorithm generates a smoothsequence of waveforms, transitioning from a sine
wave to a Dirac comb, as controlled by TIMBRE. Theintermediary steps are reminiscent of a single formant.
Two such waveshapes are blended together, with thedetuning amount controlled by COLOR.

SUBπ SUBлSub oscillator modes with a square or saw waveform.
These two models were added in a firmware updateafter the original Braids module was first released.

Models Cont’d9

SYNπ SYNл
These models synthesize the classic 2-oscillator hardsync patch, with both oscillators emitting square or
saw waves. The main oscillator frequency controls themaster frequency. The interval between master andslave is controlled by TIMBRE. COLOR controls thebalance between the two oscillators.

ллx3 π_x3 /\x3 SIx3
Three sawtooth (or square, triangle, sine) oscillators
which can be individually tuned. COLOR and TIMBRE
control the relative frequency of the second and third
oscillator with respect to the main oscillator. These twocontrols are quantized to “snap” on musical intervals
like octaves or fifths.

RING
Three sine wave oscillators are ring-modulated
together, and colored by a waveshaper. The main
oscillator frequency controls the frequency of the firstsine wave, and TIMBRE and COLOR control the relative
frequency of the second and third sine waves.

Models Cont’d

10

лᛢлᛢ
This model simulates a swarm of 7 sawtooth waves.
TIMBRE controls their detuning, and COLOR applies ahigh-pass filter to the resulting sound.

ллϒϒThis model generates a sawtooth waveform, and sends
it into a comb filter (tuned delay line). The frequencyof the delay line tracks the frequency of the sawtoothoscillator, with a transposition controlled by the
TIMBRE knob. COLOR selects the feedback amount andpolarity: at 12 o’clock, no feedback is applied. From 12
o’clock to 5 o’clock, positive feedback is increasingly
applied. From 12 o’clock to 7 o’clock, negative feedback
is progressively applied.

TOY*
This model traverses a space of timbres typicalof (circuit-bent) electronic musical toys. TIMBRE
simulates an alteration of the toy’s clock rate, while
COLOR creates glitches or short-circuits on a converteror memory chip’s data lines.

Models Cont’d

11

ZLPF ZPKF ZBPF ZHPF
This family of models directly synthesize, in thetime-domain, the response of a low-pass, peaking,band-pass or high-pass filter excited by classic analog
waveforms. Rather than synthesizing the waveformand filtering it (which is what a VA synthesizer woulddo), this approach directly aims at building the filteredwaveshape from scratch. This technique has been usedin the Casio CZ or the Roland D series, but is extended
here to cover different filter types and waveshapes.
TIMBRE controls the cutoff frequency of the filter.
COLOR continuously modifies the waveshape, fromsaw to square to triangle.

VOSM
This model uses a combination of 3 oscillators arranged
in a clever ring-modulation/hard-sync patch to emulate
formant synthesis—a technique named VOSIM anddescribed by Kaegi and Tempelaars. COLOR and
TIMBRE control the relative frequencies of the twoformants.

Models Cont’d

12

VOWL VFOF
Both models synthesize vowel sounds. VOWL is afaithful recreation of early computer speech synthesis
programs. VFOF uses a simplified version of Rodet’s
FOF synthesis technique. Both have the same control
layout: TIMBRE controls the vowel, morphing between
a, e, i, o, u. COLOR shifts the formants in frequency.
Main oscillator frequency and COLOR can be usedaltogether to simulate age and gender transformations.

HARM
This model uses additive synthesis, by summing 12
sine harmonics. COLOR modifies the distribution of
the amplitudes of each harmonic, around a central
frequency set by TIMBRE.

FM__ FBFM WTFM
Three flavors of 2-operator phase-modulation
synthesis. TIMBRE controls the modulation amount.
COLOR controls the relative frequency interval between
modulator and carrier. FM__ is a well-behaved
implementation. FBFM uses feedback from the carrier
to itself to produce harsher tones. WTFM uses two
feedback paths, from carrier to modulator and carrier
to itself to achieve droning, unstable tones.

Models Cont’d

13

PLUK
Raw plucked string synthesis. TIMBRE controls thedamping, COLOR the plucking position. A trigger orgate signal is required.

BOWD
Bowed string modeling. TIMBRE controls the frictionlevel, COLOR the bowing position. A trigger or gate
signal is required. Note that this model does notinclude a body filter—which would be necessary tosimulate an actual string instrument.

BLOW FLUT
Reed or flute instrument model. TIMBRE controls the
air pressure, COLOR the geometry of the instrument.
A trigger or gate signal is recommended. Note that
this model does not include a filter—which would benecessary to simulate an actual wind instrument.

Models Cont’d

14

BELL
This model established by Risset uses additive
synthesis to recreate the tone of a bell. TIMBRE
controls the damping of the sound; and COLOR the
inharmonicity of the sound. A trigger or gate signal isrequired.

DRUM
This variant of the BELL model uses different
parameters (partials frequencies and amplitudes)
to generate a sound reminiscent of a metallic drum.
TIMBRE controls the damping and COLOR thebrightness. A trigger or gate signal is required.

KICK
This model is a simulation of the TR-808 bass drum
circuit. TIMBRE controls the decay time, while COLOR
controls the brightness (tone) of the sound. The
main oscillator frequency controls the tuning of thebridged-T filter. A trigger or gate signal is required.

Models Cont’d

15

CYMB
Raw material for cymbal sound synthesis, as inspiredby the TR-808. COLOR controls the balance between
a droning sum of square waves and noise. TIMBRE
controls the cutoff of a band-pass filter applied on
the resulting signal. This model does not require or
respond to trigger or gate signals.

SNAR
This model is a simulation of the TR-808 snare drum.
TIMBRE controls the balance between the two modesof the resonator (tone) and COLOR controls the amountof noise (snare). A trigger or gate signal is required.

WTBL
This model is a classic implementation of wavetable
synthesis. TIMBRE sweeps the wavetable, and COLOR
selects one of the 20 wavetables to play with. The
waveforms are interpolated when traveling through awavetable, but not when switching from one table toanother.

Models Cont’d

16

WMAP
This model is a two-dimensional implementation of
wavetable synthesis. 256 waveforms have been laid out
in a 16×16 grid, so that adjacent waveforms are similarsounding. The TIMBRE parameter scans the table in the
X direction, and the COLOR parameter scans the tablein the Y direction, with smooth interpolation across thetwo directions.

WLIN
This model allows one dimensional scanning
through the entirety of Braids’ wavetables. TIMBRE
moves through the waves, while COLOR selects theinterpolation method. When COLOR is at 7 o’clock,no interpolation is applied. When COLOR is at 10o‘clock, interpolation is applied between samples,but not between waves. When COLOR is at 12 o’clock,interpolation is always applied. When COLOR goes past
12 o’clock, interpolation is applied between waves, but
the resolution of the playback resolution is decreased.

Models Cont’d

17

WTx4
This mode is a 4-voice variant of WLIN. TIMBRE
morphs through a small selection of 16 waves. COLOR
selects the harmonic structures between the 4 voicesfrom a predefined set of chords. When COLOR is at
7 o’clock, all voices are playing the same note with avariable amount of detuning, creating a thick chorus
effect.

NOISThis model filters white noise with a state-variable
filter. The main oscillator frequency controls the cutoff
frequency of the filter. TIMBRE controls the resonanceof the filter. COLOR performs a crossfade between the
low-pass and high-pass outputs of the filter.

TWNQ
This dual-peak model generates white noise andprocess it with two band-pass filters (resonators).
TIMBRE controls the Q factor of the filters, and COLOR
changes their spacing. The frequency of both filters
each track the main frequency.

Models Cont’d

18

CLKN
This model generates random samples at a given rate,
determined by the main pitch control. TIMBRE controls
the periodicity of the generator (up to a 2 samples
cycle), and COLOR its quantization level (from 2 distinct
values to 32 distinct values).

CLOU PRTC
These granular synthesis models create natural texturesby mixing short grains of windowed sine waves (CLOU)
or short, decaying pings (PRTC). The frequency of
the grains is controlled by the main frequency control,
but is randomized by an amount proportional to the
COLOR control. TIMBRE controls the density andoverlap of the grains.

QPSK
This model generates—in the audio frequency
range—the kind of modulated signals used in digitaltelecommunication systems. The main oscillator
frequency is the carrier frequency. The bit-rate iscontrolled by the TIMBRE knob. The COLOR knob sets
an 8-bit value which is modulated into the carrier using
QPSK modulation. A 16-byte synchronization frame issent on every trigger/gate, or every 256 data bytes.

Options

19

META
Allows the synthesis model to be selected by the FM
CV. When this mode is active, frequency modulation
through the FM CV input is no longer possible—but is
replaced by CV-controlled model selection.
This option is great for creating sequences featuring
the different synthesis models. Keep in mind that
discontinuities or glitches might be heard whenswitching from one model to the next!
The encoder can still be used to scroll throughsynthesis models; and the CV applied to the FM input
allows you to scroll forward (positive voltage) or
backwards (negative voltage) through the list.

BITS
Selects the bit-depth of the data sent to DAC.

RATE
Selects the refresh rate of the DAC. Note that a handfulof models are internally rendered at 48kHz (instead of
96kHz); the difference between 48kHz and 96kHz might
be non-existent for the most complex models. Note alsothat conversely, to reduce aliasing, the simplest models
are rendered internally at 192kHz or 384kHz.

Options Cont’d

20

TSRC
Selects a trigger source:●● EXT. uses the gate/trigger jack.
●● AUTO additionally tracks changes in the
V/OCT frequency input larger than a semitone andgenerates a trigger on each of these. This allows,for example, the physical models or the internal
AD generator to be controlled by a note sequencer
which does not provide gate outputs.

TDLY
Applies a delay between the moment the trigger isreceived and the moment the note is sounded on thephysical models. Some CV-gate converters or sequencers sometimes have slow settling times, or have shorttiming errors between the refresh of their analog anddigital outputs. Delaying the processing of the trigger
allows the physical model to sample the accurate CV
rather than a fluctuating one which can cause unwanted glitches or portamento-like effects at note onsets.

ᚣATT ᚣDEC
Select the attack and decay time of the internal AD
envelope generator.

Options Cont’d
ᚣFM21

ᚣTIM ᚣCOL ᚣVCA

Control the amount of modulation from the internal
AD envelope generator to the FM, TIMBRE, COLOR andoutput amplitude parameters. When all these settings
are null, the TRIG input works as a sync/reset input.

RANG
Chooses the range of the COARSE knob:●● EXT. adjusts the range to ±4 octaves around thenote received on the V/OCT input. Because of this,when no frequency CV signal is sent to the module
the coarse button will have a bias towards low
frequencies, which might not always be desirable.
This would be the equivalent to sending a CV of 0V—
corresponding to a very low note!
●● FREE adjusts the range to ±4 octaves centeredaround C3 (261.5 Hz). This setting is recommended
when the module is used with no external signal on
the V/OCT CV input.
●● XTND provides a larger (extended) frequency
range, but disables accurate V/OCT scaling as a side
effect.
●● 440 locks the oscillator frequency to 440 Hz
exactly—helpful for tuning another VCO.

Options Cont’d

22

OCTV
This option is a transposition (by octave) switch.

QNTZ
Applies quantizing to the incoming V/OCT control
voltage. The frequency can be quantized to semitones,
or to one of the many available scales, or disabled.

ROOT
Selects the root note upon which the quantizer’s scaleis built.

FLAT
Applies detuning in the lower and higher frequencies,
to recreate some of the tuning imperfections of VCOs.

Options Cont’d

23

DRFT
Recreates the drifting of a poorly designed VCO.

SIGN
Applies grungy glitch/waveform imperfections to the
output signal. The exact behavior of this option is
unique to each module built.

BRIG
Adjusts the screen brightness.

Calibration

24

Follow this procedure to compensate for any
inaccuracies in your CV sources, or if your module has
lost its V/octave calibration settings following a reset or
the installation of alternate firmware.
1. Disconnect any signal from the FM input.
2. Connect the note CV output of a well-calibrated
keyboard interface or MIDI-CV converter to the
V/OCT input.
3. Move the COARSE and FINE knobs to their 12 o’clock
positions.
4. Select CAL from the options list.
5. Click and hold the encoder for 1 second. The screen
will display >C2
6. Send a voltage of 1V to the CV input.
7. Click the encoder once. The screen will display >C4
8. Send a voltage of 3V to the CV input.
9. Click the encoder once to finish calibration.
This software calibration procedure can also be used toachieve compatibility with the 1.2V/octave standard.
You can also shift the range of the COARSE knob up or
down by performing this calibration procedure withany pair of notes that are 2 octaves apart, and with the
COARSE knob set to any starting position.

Extras25

Following CAL in the menu is a screen showing avisual representation of the internal ADC readings
for the TIMBRE, COLOR, V/OCT and FM inputs. This
page is helpful for visualizing the polarity and range ofincoming CV signals.
The next option shows a scrolling line of text. TIMBRE
controls the scrolling and a gate/trigger can be used toscroll the text left by one column.
To edit the text:
1. Press the encoder for more than 1 second.
2. Rotate the encoder to select the first character.
3. Click to move to the next character and continue
editing.
4. Once the line of text has been composed, select thelast character (all segments lit) to confirm.
At any time, you can also hold the encoder to leave theedit mode.

Firmware Warnings

26

Before starting the audio firmware update procedure,please double-check the following:●● Make sure that no additional sound (such as email
notification sounds, background music, etc.) fromyour computer will be played during the procedure.
●● Make sure that your speakers/monitors are muted
or not connected to your audio interface—the noises
emitted during the procedure are aggressive andcan harm your hearing.
●● On non-studio audio equipment (for example theline output from a desktop computer), you might
have to turn up the volume to the maximum.

Firmware Update27

The module comes with version 1.9 of the Braids
firmware installed. Perform the following steps to
update the module’s firmware via a provided audio file:
1. Unplug all CV inputs/outputs from the module.
2. Connect the output of your audio interface/soundcard to the FM input.
3. Set the FINE knob to 12 o’clock.
4. Set the FM attenuverter to 5 o’clock.
5. Power on your modular system while depressing
the encoder. The screen will show _RDY, with a“rotating snake” pattern on the first character.
6. When you are all set, play the firmware update file
into the module. The display shows the numberof data packets received. The firmware contains
between 90 and 112 packets, and the unit reboots
after the last packet has been received.
In case the signal level is too weak, the unit will
display @SYN. Try adjusting the position of the FM
attenuverter, click the encoder and retry from the startof the update file.
The unit displays @CRC if a data packet is corrupted. In
this case, retry the procedure from another computer/audio interface, and make sure that no piece ofequipment (equalizer, FX processor) is inserted in thesignal chain.

Serial Programming

28

The module can also be programmed using a serial
data connection. This is most easily accomplished byusing a USB-to-serial chip such as the popular FT232R
which can be found in many standalone breakout
boards and cables, including the FTDI TTL-232R-3V3 aswell as various equivalents from Adafruit, SparkFun,
and others. Data signals should be at 3.3V levels.
The serial connection should be hooked up to thewhite shrouded 6-pin header labeled FTDI (H2) on themodule’s PCB. This is a JST-XH header that works very
well with the 0.1″ pitch female connectors that are
frequently found on these cables. Only pins 1 (GND),
4 (RX), and 5 (TX) are used, and the location of pin 1 ismarked with a white triangle. Power must be supplied
separately via a Eurorack power cable connected to the
POWER (H3) header.
To prepare the processor for serial programming:
1. Power-on the module.
2. Press and hold both the BOOT (S1) and RESET (S2)buttons at the same time.
3. Release the RESET button.
4. Wait a moment, then release the BOOT button.
The processor is now ready to be programmed.

JTAG Programming

29

The module can also be programmed using a JTAG
programmer connected to the black shrouded header
labeled JTAG (H1) on the module’s PCB. Power mustbe supplied separately via a Eurorack power cableconnected to the POWER (H3) header.
An example of this kind of programmer is the Olimex
ARM-USB-OCD. Their ARM-JTAG-20-10 adapter is also
necessary in order to accommodate the module’s
miniature 0.05″ pitch 10-pin header.
No additional steps are necessary to prepare themodule for programming via this method.
If you are interested in serial or JTAG programming,
please explore the Vagrant environment for Mutable
Instruments modules hacking which can be found at
github.com/pichenettes/mutable-dev-environment
Other programming resources can be found at forum.
mutable-instruments.net/t/4336 (Mac Tutorial: How
to compile and upload the firmware of MIs eurorack
modules) and at medium.com/music-thing-modularnotes/a08173cec317 (How to get started writing yourown firmware for Mutable Instruments Clouds), the latterof which was written for the Clouds module but is also
applicable to Braids.

Documentation

30

Much of the information in this manual was created by
Olivier Gillet of Mutable Instruments and released under
the CC BY-SA 3.0 license.
Modifications and additions to this material werecreated by Tall Dog and released under the compatible
CC BY-SA 4.0 license.
For an overview of the implications and terms of theselicenses, please read the following page.

CC BY-SA 4.0

31

This is a human-readable summary of (and not a
substitute for) the license, which can be found at
creativecommons.org/licenses/by-sa/4.0/legalcode

You are free to:●● Share — copy and redistribute the material in any
medium or format.
●● Adapt — remix, transform, and build upon thematerial for any purpose, even commercially.

Under the following terms:●● Attribution — You must give appropriate credit,
provide a link to the license, and indicate if changes
were made. You may do so in any reasonable
manner, but not in any way that suggests thelicensor endorses you or your use.
●● ShareAlike — If you remix, transform, or build upon
the material, you must distribute your contributions
under the same license as the original.
●● No additional restrictions — You may not apply
legal terms or technological measures that legally
restrict others from doing anything the license
permits.

Support

32

For all support inquiries, please send an email tosupport@tall-dog.com

Who We Are
Tall Dog Electronics is located in the Pioneer Valley
region of Western Massachusetts. Tall Dog has primarily
focused on producing a variety of breakout boards for
the Teensy microprocessor development platform andconducts the majority of its business via the Tindie
marketplace. Tall Dog released their first Eurorack
module, µBraids SE, in late 2017.
Michael Gilbert is a composer, recording artist, andteacher of electronic music, for over 40 years. Hismusic is a creative mix of electronic, jazz, world, andcontemporary classical idioms, and is available on 9
albums of original work as Michael William Gilbert. The
music has featured Adam Holzman, Mark Walker, Peter
Kaukonen, David Moss, and Tony Vacca. He has also
designed and built electronic music equipment, using
it in his own studio and making it available to othermusicians.
Daniel Gilbert is a designer and engineer with abackground in film, photography, and animation. After
graduating from Hampshire College he spent the next
several years working in the Los Angeles film industry.
He now resides in Easthampton, Massachusetts, where
he designs, builds, and distributes Tall Dog products.

µBraids SE User Manual
Revised 2018-11-05
Documentation CC BY-SA 4.0