TD-UPSE-B Designed by Daniel & Michael Gilbert of Toll Dog Electronics in Western Massachusetts tall-dog.com | uplaits-se.com Based on the Plaits module designed by Émilie Gillet of Mutable Instruments mutable-instruments.net Partially manufactured by Worthington Assembly via CircuitHub in South Deerfield, MA worthingtonassembly.com circuithub.com Partially manufactured by PCBWoy in Hangzhou, China pcbway.com Assembled at Rust Temple in Easthampton, MA rusttemple.today Licensed under Creative Commons Attribution-ShareAlike 4.0 International creative commons.org/licenses/by-sa/4.0 Source materials are available on GitHub github.com/loglow/uPlaits_SE

About
Plaits is a voltage-controlled sound source offering direct access to a large palette of easily tweakable raw sonic material generated by models spanning a wide range of synthesis techniques. This redesigned μPlaits SE (Special Edition) is a new revision of Plaits that miniaturizes the module from 12HP to 8HP and redesigns its front panel layout. μPlaits SE remains fully compatible with future upstream Plaits firmware upgrades and any other alternate firmwares that are compliant with the standard Plaits design.
Included Parts
µPloits 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-UPSE-B/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-UPSE-B/S variant has a satin silver front panel with black markings made from anodized aluminum material via the Metalphoto process. The included mounting screws are silver.
History
The original Plaits ² was designed by Émilie Gillet of Mutable Instruments² and released under the free, open-source CC BY-SA 3.0² license. 4 Plaits is available as a 12HP Eurorack module. Plaits is the spiritual successor of Mutable Instruments’ best-selling voltage-controlled sound source, Braids. 5 Not just a mkII version: its hardware and software have been redesigned from scratch. Gone are the screen, menu system, hidden settings, and the long list of somewhat redundant synthesis models. Thanks to additional CV inputs, and to the use of three timbre-shaping parameters per model, Plaits is straightforward to use, and much closer to the ideal of one synthesis technique == one model. What were fragmented islands of sound in Broids are now part of a continuum of sounds. 1 — mutable-instruments.net/modules/plaits 2 — mutable-instruments.net/about 3 — creativecommons.org/licenses/by-sa/3.0 4 — github.com/pichenettes/eurorack 5 — mutable-instruments.net/modules/braids
Warranty
This product is covered under warranty for one year following the date of purchase as indicated on the original sales receipt. This warranty covers any defect in 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 is subject to verification of the defect or malfunction and proof of purchase as confirmed by showing the model number on an original dated sales receipt. Shipping and 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.
Note: The lettering and numbering scheme used in this manual has been kept consistent with the upsteam documentation for the original Plaits module. [A] — Model selection buttons and LEDs displaying the active model. Each button cycles through a bank of 8 models. The second bank is focused on noisy and percussive sounds. [B] — Coarse frequency control. By default, it covers a range of 8 octaves, but it can be narrowed down to 14 semitones (refer to FREQ knob range, page 10). [C] [D] [E] — Model-dependent tone controls. Their actual function varies from model. In general, TIMBRE [D] sweeps the spectral content from dark/ sparse to bright/dense, MORPH [ E ] explores lateral timbral variations and HARMO [C] (short for harmonics) controls the frequency spread or the balance between the various constituents of the tone. [F] — Attenuverters for the TIMBRE, FM and MORPH CV inputs. When the corresponding CV input is left unpatched and the TRIG (trigger) input [3] is patched, the attenuverter adjusts the modulation amount from the internal decaying envelope generator. When unplugging a CV input, and if the trigger input is patched, remember to reset the attenuverter to 12 o’clock if you do not want the internal envelope to take over!
Inputs & Outputs
[1] — Model selection CV input. When this CV input is modulated, two LEDs are lit: the steadily lit LED indicates the current model, and the slowly blinking LED indicates the central value, which would be obtained with a CV of zero volts and which is still modifiable with the buttons [A]. Note that when the TRIG input [3] is patched, model changes occur only whenever a trigger is received. [2] — CV inputs for the TIMBRE, FM, MORPH and HARMO parameters. [3] — Trigger input. Serves four percussive purposes: Triggers the internal decaying envelope generator. . Excites the physical and percussive models. . . Strikes the internal low-pass gate (unless the LEVEL CV input [4] is patched). ● Samples and holds the value of the MODEL CV input [1].
Inputs & Outputs Cont’d
[4] — Level CV input. Opens the internal low-pass gate, to simultaneously control the amplitude and brightness of the output signal. Also acts as an accent control when triggering the physical or percussive models. [5] — V/Oct CV input. Controls the fundamental frequency of the sound, from -3 to +7 octaves relative to the root note set by the coarse FREQ knob [B]. [6] [7] — Outputs. The AUX output [ 7] carries a variant, sidekick, or by-product of the main signal produced on OUT [6].
Adjusting the internal LPG & envelope Hold the LEFT button [A] and: Turn the TIMBRE knob [D] to adjust the response of . the LPG (low pass gate) from VCFA to VCA. Turn the MORPH knob [E] to adjust the ringing . time of the LPG and the decay time of the internal envelope. The values of both settings are represented by four yellow LEDs.
Adjusting the FREQ knob range
Hold the RIGHT button [A] and turn the HARMO knob [C] to adjust the range of the FREQ knob. The first 8 settings correspond to C0 ± 7 semitones, C1 ± 7 semitones, and so o n. The last setting, with all LEDs lit, corresponds to the full 8-octave range from C0 to C8. After having turned the HARMO, TIMBRE or MORPH knob to adjust a setting, the position of the knob might no longer match the original value of the corresponding parameter. When this happens, the response curve of the knob is modified to account for this discrepancy, until the position of the knob and the parameter perfectly line up again!
These 8 models are selected by the LEFT button [A] and are represented by a green LED indicator: Pair of classic waveforms [L1] Waveshaping oscillator [L2] [L3] Two operator FM Granular formant oscillator [L4] Harmonic oscillator [L5] [L6] Wavetable oscillator Chords [L7] [L8] Vowel and speech synthesis These 8 models are selected by the RIGHT button [A] and are represented by a red LED indicator: [R1]  Granular cloud Filtered noise [R2] [R3] Particle noise [R4] Inharmonic string modeling [R5] Modal resonator [R6] Analog bass drum model [R7] Analog snare drum model [R8]   Analog hi-hat model
Virtual-analog synthesis of classic waveforms. HARMO — detuning between the two waves. . . TIMBRE — variable square, from narrow pulse to full square to hardsync formants. MORPH — variable saw, from triangle to saw with an increasingly wide notch ( Braids' 1988 ). AUX — sum of two hardsync'ed waveforms, the . shape of which is controlled by MORPH and detuning by HARMO. A narrow pulse or wide notch results in silence! Use this trick if you want to silence one of the two oscillators, to get a variable square or variable saw.

[L2] Waveshaping oscillator
An asymmetric triangle processed by a waveshaper and a wavefolder. Sounds familiar? That's the same signal processing chain as in Tides , when it runs at audio rate! 1 HARMO — waveshaper waveform. . TIMBRE — wavefolder amount. . MORPH — waveform asymmetry. . AUX — variant employing another wavefolder curve, . as available in Worps. 2
Two sine-wave oscillators modulating each other's phase. HARMO — frequency ratio. . TIMBRE — modulation index. . MORPH — feedback, in the form of operator 2 . modulating its own phase (past 12 o'clock, rough!) or operator 1's phase (before 12 o'clock, chaotic!). . AUX — sub-oscillator. Note: turn MORPH fully CCW to get the same range of sounds as Braids’ all out . Turn MORPH fully CW to recreate the same sounds as Broids’ [ HEM . A gentler palette equivalent to Braids’ [1] …… is found with MORPH at 12 o'clock.
Simulation of formants and filtered waveforms through the multiplication, addition and synchronization of segments of sine waves. HARMO — frequency ratio between formant 1 and 2. TIMBRE — formant frequency. MORPH — formant width and shape. This controls the shape of the window by which a sum of two synchronized sine oscillators is multiplied. AUX — simulation of filtered waveforms by . windowed sine waves — a recreation of Braids' : 11.1.5 models. HARMO controls the filter type (peaking, LP, BP, HP), with smooth variation from one response to another.
An additive mixture of harmonically-related sine waves. HARMO — number of bumps in the spectrum. Starts with one big bump, and progressively adds ripples around it. TIMBRE — index of the most prominent harmonic. This control is somewhat similar to the cutoff frequency of a band-pass filter. MORPH — bump shape — from flat and wide to peaked and narrow. This control is somewhat similar to the resonance of a band-pass filter. AUX — variant including only the subset of harmonics present in the drawbars of a Hammond organ (frequency ratios of 1, 2, 3, 4, 6, 8, 10 and 12).
Four banks of 8×8 waveforms, accessed by row and column, with or without interpolation. ● HARMO — bank selection. 4 interpolated banks followed by the same 4 banks, in reverse order, without interpolation. Bank A — harmonically poor waveforms o obtained by additive synthesis (sine harmonics, drawbar organ waveforms). ः Bank B — harmonically rich waveforms obtained by formant synthesis or waveshaping. 。  Bank C — wavetables from the Shruthi-1 / Ambiko , sampled from classic wavetable or ROM playback synths. 1 。  Bank D — a joyous semi-random permutation of waveforms from the other 3 banks. TIMBRE — row index. Within a row, the waves are . sorted by spectral brightness (except for bank D which is a mess!). MORPH — column index. AUX — low-fi (5-bit) output.

[L7] Chords
Four-note chords, played by virtual analogue or wavetable oscillators. The virtual analogue oscillators emulate the stack of harmonically-related square or sawtooth waveforms generated by vintage string & organ machines.
.
HARMO — chord type. . TIMBRE — chord inversion and transposition. MORPH — waveform. The first half of the knob . goes through a selection of string-machine like raw waveforms (different combinations of the organ and string “drawbars”), the second half of the knob scans a small wavetable containing 16 waveforms. AUX — root note of the chord. HARMOl
A collection of speech synthesis algorithms. HARMO — crossfades between formant filtering, . SAM (Software Automatic Mouth), and LPC (linear predictive coding) vowels, then goes through several banks of LPC words. TIMBRE — species selection, from Daleks to . chipmunks. How does it work? This parameter either shifts the formants up or down independently of the pitch; or underclocks/overclocks the emulated LPC chip (with appropriate compensation to keep the pitch unchanged). . MORPH — phoneme or word segment selection. When HARMO is past 11 o’clock, a list of words can be scanned through by turning the MORPH knob or by sending a CV to the corresponding input. One can also patch the TRIG input [3] to trigger the utterance of a word, use the FM attenuverter to control the intonation and the MORPH attenuverter to control speed. AUX — unfiltered vocal cords' signal.
A swarm of 8 enveloped sawtooth waves. HARMO — amount of pitch randomization. . TIMBRE — grain density. . ● MORPH — grain duration and overlap. When this setting is fully CW, the grains merge into each other: the result is a stack of eight randomly frequency- modulated waveforms. ● AUX — variant with sine wave oscillators. To get a nice "supersaw" waveform, try a moderate amount of pitch randomization and grain density, with full grain overlap.

[R2] Filtered noise
Variable-clock white noise processed by a resonant filter. The cutoff frequency of the filter is controlled by the FREQ knob [ B ] and the V/OCT CV input [ 5 ]. This allows proper tracking! HARMO — filter response, from LP to BP to HP. . TIMBRE — clock frequency. . . MORPH — filter resonance. AUX — variant employing two band-pass filters, with . their separation controlled by HARMO.

[R3] Particle noise
Dust noise processed by networks of all-pass or band- pass filters. ● HARMO — amount of frequency randomization. TIMBRE — particle density. . MORPH — filter type — reverberating all-pass . network before 12 o’clock, then increasingly resonant band-pass filters. ● AUX — raw dust noise.
[R4] Inharmonic string modeling
[R5] Modal resonator
For your own pleasure, a mini-Rings!¹ Please refer to the Rings manual for more information about modulated/ inharmonic string synthesis, and modal resonators. When the TRIG input [3] is not patched, the string/ resonator is excited by dust (particle) noise. Otherwise, the string is excited by a short burst of filtered white noise, or by a low-pass filtered click. HARMO — amount of inharmonicity, or material . selection. TIMBRE — excitation brightness and dust density. . . MORPH — decay time (energy absorption). AUX — raw exciter signal. . Note that Plaits uses a less powerful processor than Rings , and is thus limited to 3 voices of polyphony in inharmonic string modeling mode, and 1 voice of polyphony with 24 partials in modal resonator mode. Plaits does not allow you to control the position of the excitation, which is set to 25% of the length of the string/bar/tube.

[R6] Analog bass drum model
No fancy acronyms or patented technology here, just behavioral simulation of circuits from classic drum machines! The drum machine emulated on OUT employs a bridged T-network excited by a nicely shaped pulse. As for the signal synthesized on AUX, it uses a frequency-modulated triangle VCO, turned into a sine with a pair of diodes, and shaped by a dirty VCA. HARMO — attack sharpness and amount of . overdrive. TIMBRE — brightness. . MORPH — decay time. . Without any signal patched to the TRIG input [3] , a continuous tone is produced. Not particularly useful, but its amplitude can still be modulated by the MORPH knob and CV input!

[R7] Analog snare drum model
The drum machine emulated on OUT employs a bunch of bridged T-networks, one for each mode of the shell, excited by a nicely shaped pulse; plus some band-pass filtered noise. As for the signal synthesized on AUX, it is based on a pair of frequency-modulated sine VCOs, mixed with high-pass filtered noise. HARMO — balance of the harmonic and noisy . components. TIMBRE — balance between the different modes of . the drum. ● MORPH — decay time.

[R8] Analog hi-hat model
The recipe is similar for both OUT and AUX: a bunch of square oscillators generate a harsh, metallic tone. The resulting signal is mixed with clocked noise, sent to a HPF, then to a VCA. While OUT uses 6 square oscillators and a dirty transistor VCA, AUX uses three pairs of square oscillators ring-modulating each other, and a clean, linear VCA. . HARMO — balance of the metallic and filtered noise. TIMBRE — high-pass filter cutoff. . MORPH — decay time. .
Notes for [R4] [R5] [R6] [R7] [R8]
The physical and drum models employ their own decay envelope and filter. The internal LPG is disabled for them: The TRIG input [3] triggers the synthesis of the . signal, but doesn't strike the LPG. ● When the TRIG input is patched, the LEVEL input [4] works as an accent control.
The module is factory-calibrated using precision voltage sources. Follow this procedure only if you want to compensate for inaccuracies in your CV sources, or if your module has lost its calibration settings following a fault or the installation of alternative firmware. To calibrate the unit: 1. Disconnect all CV inputs. 2. Connect the note CV output of a well-calibrated keyboard interface or MIDI-CV converter to the V/OCT input jack [5]. Leave all the other CV inputs unpatched. 3. Press both buttons [A] at the same time. The first LED should slowly blink green. 4. Send a voltage of 1.000 V to the V/OCT input. 5. Press either button. The first LED should now blink orange. 6. Send a voltage of 3.000 V to the V/OCT input. 7. Press either button. Calibration is complete.
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.) from your 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 and can harm your hearing. ● On non-studio audio equipment (for example the line output from a desktop computer), you might have to turn up the volume to the maximum.
Unplug all inputs/outputs from the module. Connect the output of your audio interface or sound card to the MODEL input jack [1]. Set the FREQ knob [B] to 12 o’clock. Power on your modular system with the LEFT model selection button [A] pressed. When you are all set, play the firmware update file into the module. While the module receives data, the first group of 4 LEDs will act as a VU meter (2 or 3 LEDs are lit when the signal level is optimal), while the remaining 4 LEDs represent which proportion of the current packet has been received. You can use the FREQ knob to boost or reduce the gain. When the end of the audio file is reached, the module will automatically restart. If it doesn't restart, please retry the procedure. If the signal level is too weak, the LEDs will blink red. Press the LEFT button [A] and retry with a higher gain. If this doesn't help, try the procedure from a different computer or audio interface, and make sure that no other equipment (such as an equalizer or FX processor) is inserted in the signal chain.
The module can also be programmed using an SWD or JTAG programmer connected to the black shrouded header labeled SWD/JTAG (H7) on the module's PCB. Power must be supplied separately via a Eurorack power cable connected to the POWER (H8) 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 the module for programming via this method. If you are interested in SWD or JTAG programming, or in further firmware tweaking or development, please explore these additional online resources: ● Vagrant environment for Mutable Instruments modules hacking github.com/pichenettes/mutable-dev- environment ● How to compile and upload the firmware of MIs eurorack modules forum.mutable-instruments.net/t/4336 ● How to get started writing your own firmware for Mutable Instruments Clouds medium.com/music-thing-modular-notes/ a08173cec317
Documentation
Much of the information in this manual was created by Émilie Gillet of Mutable Instruments and released under the CC BY-SA 3.0 license. This content includes both written text and several images. Modifications and additions to this material were created by Toll Dog Electronics and are released under the compatible CC BY-SA 4.0 license. For an overview of the implications and terms of these licenses, please read the following page.
CC BY-SA 4.0
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 the material 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 the licensor 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
For all support inquiries, please send an email to support@tall-dog.com
Who We Are
Tall Dog Electronics is located in the Pioneer Valley region of Western Massachusetts. Tal! Dog has primarily focused on producing a variety of breakout boards for the Teensy microprocessor development platform and conducts the majority of its business via the Tindie marketplace. Tall Dog released their first Eurorack module, μ Braids SE , in late 2017. Daniel Gilbert is a designer and engineer with a background 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. Michael Gilbert is a composer, recording artist, and teacher of electronic music, for over 40 years. His music is a creative mix of electronic, jazz, world, and contemporary 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 other musicians. μPlaits SE User Manual Revised 2019-05-30 Documentation CC BY SA 4.0