Mutable Instruments | Yarns
Yarns is a MIDI to CV interface. Thanks to its flexible architecture, it can manage up to 4 voices of
polyphony or up to 4 individual channels. Yarns embeds an arpeggiator, a note sequencer, and an
euclidean pattern generator.
Yarns is designed for Eurorack synthesizer systems and occupies 12 HP of space. It requires a -12V /
+12V supply (2x5 connector), consuming 2mA from the -12V rail and 60mA from the +12V rail. The red
stripe of the ribbon cable must be oriented on the same side as the “Red stripe” marking on the printed
circuit board.
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.
This device meets the requirements of the following standards: EN55032, EN55103-2,
EN61000-3-2, EN61000-3-3, EN62311.
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At the right of Yarns’ display is an encoder which is used to increment/decrement values and scroll
through options. The typical way of modifying Yarns’ settings is to scroll through the list of settings, click
the encoder to select one of them, then rotate the encoder to increment/decrement the value of setting,
and click again once you are done. Yarns’ display is small, so settings names are abbreviated into 2
letters code (VR = “Vibrato range”). To ease navigation, the unabbreviated form of each setting or value
scrolls on the display after a few seconds of inactivity.
Below the display are 3 buttons, whose primary functions are to control the sequencer:
REC starts and ends step-by-step recording.
START/STOP starts and stops the sequencer.
TAP acts as a tap-tempo.
In addition:
In recording mode, START/STOP and TAP enter a tie step (extends the duration of the previous note onto
this step) or a rest (blank step) in the sequence.
Holding the START/STOP button for a few moments latches the arpeggiator (if it is running), or starts and
hold a note. More on that in the Latch and keyboard-free operation section!
Three important concepts are used throughout this documentation: voice, part, and layout.
You can think of a voice as a group of CV and Gate outputs working together to convey information about
a single note of music. A traditional monophonic MIDI interface manages only one voice. In its simplest
expression, a voice would need only one CV output (to output the note frequency information), and one
Gate output (to output the note on/off status) - though additional CV and Gate signals can be produced,
for example an extra trigger or a velocity CV.
A part is a group of voices responding to the same MIDI channel. Whenever a note is played on this MIDI
channel, it will be dispatched to one of the voices in the group.
Yarns can handle up to 4 parts, and there are enough CV/Gate outputs for 4 voices. This means that there
are many different ways of getting these to work together! Each of these configurations are called Layouts.
Yarns provides the following layouts:
1M. Monophonic. Yarns offers a single voice of CV/Gate conversion.
2M. Dual monophonic. Yarns provides two independent monophonic voices. The voices are independent in
the sense that they can play different sequences, respond to different MIDI channels, etc.
4M. Quad monophonic. Yarns provides four independent monophonic voices.
2P. Duophonic. Yarns provides a single part made of two voices. The incoming notes are dispatched to these
two voices.
4P. Quadraphonic. Yarns provides a single part made of four voices. The incoming notes are dispatched to
these four voices.
2>. Duophonic with polychaining. Yarns provides a single part made of two voices. However, only the first
voice is handled by Yarns’ CV/Gate outputs. The second voice is simply forwarded as MIDI Note on/off
messages the MIDI out. This allows “ping-pong” play between the modules connected to Yarns and another
MIDI instrument. This can also be used to chain several instances of Yarns to get more CV outputs.
4> and 8>. Quadraphonic and octophonic with polychaining. Yarns provides a single part made of 4 or 8
voices. Only the first half of the voices are handled by Yarns’ CV/Gate outputs. Notes allocated to the other
voices are forwarded to the MIDI output.
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4T. Quad trigger mode. This layout is optimized for controlling percussion patches (for example from MIDI
drum pads, or from a MIDI drum sequencer). It offers 4 parts, each of them listening to a single MIDI note. No
control-voltage is emitted - just a trigger, freeing some outputs to emit additional gate and clock signals.
The layout can be changed by selecting the LA(YOUT) setting, clicking the encoder, selecting a layout in
the list, and clicking the encoder to confirm.
Yarns offers 4 CV outputs and 4 Gate outputs. What do they correspond to? It all depends on the selected
layout!
In single-voice layouts (1M, and 2>), the 4 CV outputs are assigned to:
V/Oct note
Velocity
Modulation wheel
Assignable (aftertouch, expression pedal, breath controller, LFO… More on that in the “Layout and MIDI
options”)
The 4 gate/trigger outputs are assigned to:
Gate (a signal at a +5V level whenever a key is pressed and held)
Trigger (short pulse at the beginning of each note)
Clock
Start/bar trigger (more on that in the “Clock and tempo” section).
In dual-voice layouts (2M, 2P and 4>), the 4 CV outputs are assigned to:
Voice 1 V/Oct note
Voice 2 V/Oct note
Modulation wheel
Assignable
The 4 gate/trigger outputs are assigned to:
Voice 1 gate
Voice 2 gate
Clock
Start/bar trigger
In four-voice layouts (4M, 4P and 8>), the 4 CV outputs are assigned to each voice’s V/Oct note. The 4
gate/trigger outputs are assigned to each voice’s gate.
In the quad trigger layout (4T) mode, which is optimized for percussions patches, the 4 CV outputs emit
excitation pulses. In their simplest form, the excitation pulses are the +5V trigger you’ve learnt to love - but
options are provided to stretch them in time, shape them like envelopes, or even scale them with velocity!
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This produces signals particularly useful for “pinging” filters, low-pass gates, or tuned delay lines.
The 4 gate/trigger outputs are assigned to:
Voice 1’s trigger with routing controlled by voice 2’s gate.
Voice 1’s trigger with routing controlled by voice 2’s gate.
Clock
Start/bar trigger
A word about this mysterious voice 1⁄2 routing affair… Here is how it works: if voice 2 is off when a trigger
arrives on voice 1, it’ll come out of the trigger output 1. If voice 2 is on when a trigger arrives on voice 1,
it’ll come out of the trigger output 2. This feature can be used creatively for getting the same drum sound
(voice 1) played differently depending on whether it is played alongside another drum sound (voice 2).
Don’t panic though - the regular triggers are of course available on the 4 CV outputs!
This section lists the different settings related to layout and MIDI reception.
LA(YOUT): Voices/parts layout. The different options have been exposed in the “Yarns’ architecture”
section.
PA(RT): Active part. Many settings - such as the MIDI channel, arpeggiator pattern, etc. - can be set to
different values for each part. When a layout is made of several parts (2M, 4M, 4T), this setting is used to
select the part to modify. This option is not visible in mono-timbral layouts.
CH(ANNEL): MIDI reception channel. A part can be made to respond to all MIDI channels (omni mode).
NO(TE): MIDI reception note. This option is only shown with the 4T layout, in which each part is triggered
by a different MIDI note.
>> (OUTPUT MIDI MODE): MIDI output routing. When set to OFF, none of the events received by this part
are forwarded to the MIDI out. When set to THRU, all events received by this part are forwarded to the
MIDI out without any processing. Finally, when set to AR(P/SEQ), all the notes generated by this part’s
arpeggiator/sequencer are sent to the MIDI OUT.
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VO(ICING): Voice allocation method. This option is shown when more than one voices are assigned to the
part (2P, 4P, 2>, 4>, 8>):
PO(LY) is a natural voice-stealing algorithm.
CY(CLIC) dispatches the note to each voice one after the other. This is a very naive approach to polyphony!
RA(NDOM) randomly assigns the note to a voice.
VE(LOCITY) dispatches low-velocity notes to the first voice, high-velocity notes to the last one, and anything
else in-between.
NP (NOTE PRIORITY): Note priority. This option is only shown when a single voice is assigned to a part,
and decides what to do when several keys are pressed simultaneously. The LO(W)est and HI(GH)est note
priority options are “historical” settings, reproducing the behavior of early keyboard scanners. LA(TEST)
note priority is the most natural behavior and is the one found in modern monosynths. You play and hold a
C… you get a C. You play a G… the G takes over. Now you release the G… the C springs back.
RC (REMOTE CONTROL CHANNEL). This specifies a channel which can be used to simultaneously
control the parameters of each of the four parts. Please refer to the MIDI implementation chart.
The first sections were focusing on how MIDI messages flow through the unit - sent in parallel to parts and
then allocated to voices. This section presents the options related to the CV/Gate conversion itself. Note
that some of these options might not be available with the 4T layout - portamento or vibrato are not very
relevant to rhythmic pulses!
LG (LEGATO): Legato mode. When the legato mode is off, a trigger is sent at each new note, and
portamento is applied to the note CV signal (see next setting) - irrespectively of the playing style. When
the legato mode is on, portamento is only applied to overlapping notes (played legato); and a trigger is
sent only when a new note does not overlap with the previous one. This setting is only available in
monophonic layouts (1M, 2M, 4M).
PO(RTAMENTO): Portamento speed. This setting controls the time taken by notes to glide into one
another.
BR (BEND RANGE): Pitch bend range in semitones. Controls by how many semitones (up to 24) the note
is shifted up or down when the pitch bend lever is set to its extreme positions. When this setting is 0,
pitch-bend is disabled.
VR (VIBRATO RANGE): Vibrato range in semitones. The vibrato amount is controlled by the modulation
wheel. When this setting is 0, vibrato is disabled.
VS (VIBRATO SPEED): Vibrato speed. The last settings are clock divisions - in this case the vibrato LFO
will be locked to the MIDI clock.
T- (TRIGGER DURATION): Duration of the trigger pulse. With the 1M or 2> layouts, the trigger duration is
expressed in milliseconds. In 4T mode, the trigger duration follows an exponential scale, to reach
durations in the order of seconds. Other layouts do not offer trigger outputs.
T* (TRIGGER SCALING): This setting (available only with the 4T layout) can scale the amplitude of the
trigger output according to velocity. This is of no use when using the trigger as a logic signal (for example
to start an envelope), but suddenly makes much more sense when the trigger is used to “ping” a filter or
LPG; or when it is directly used as an envelope or modulation source sent, for example, to a VCA.
T/| (TRIGGER WAVESHAPE): Various shapes of trigger pulses are available, producing different results
when “pinging” filters. SQ is the standard square “logic” pulse. LI(NEAR) is a linear decay. EX(PO) is an
exponential decay. RI(NG) is a short sinusoidal burst with an exponential decay, similar to a damped kick
or to a clave depending on the trigger duration. ST(EP) is a rapid-fire sequence of pulses with decaying
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amplitude. Finally, BU(RST) is a burst of white noise with an exponential decay.
CV (AUX CV OUT): This setting controls which signal is sent to the 4th CV output in single and two-voice
layouts. The options are: AT(AFTERTOUCH), BR(EATH) controller (MIDI CC# 2), PE(DAL) (MIDI CC#4),
VI(BRATO LFO) - which is a triangle LFO whose amplitude is controlled by the modulation wheel, and
whose speed is controlled by the VS (VIBRATO SPEED) setting. LFO is similar to VIBRATO LFO, except
that the amplitude is constant, instead of being controlled by the modulation wheel.
Some of Yarns’ CV output channels can be reconfigured as digital oscillators. To do so, select the
OS(CILLATOR) setting. The available waveforms are sawtooth, 25% rectangle, square, triangle and sine.
The oscillator signal is produced:
On CV4 in monophonic mode (1M)
On CV3 and CV4 in duophonic modes (2M or 2P)
On CV1, CV2, CV3, CV4 in quadraphonic modes (4M or 4P)
The first setting of the OS parameter (OFF) disables audio output and causes the channel to behave as a
CV output as expected.
Yarns uses highly accurate 16-bit DACs for CV conversion, and is capable of very precise control over
tuning.
TT (TRANSPOSE) applies a coarse transposition to the input note, expressed in semitones. Note that this
is equivalent to a keyboard transposition, rather than an offset on the output voltage - this might not matter
much when using equal temperament, but matters when other tuning systems are used.
TF (FINE TUNING) applies a fine transposition to the output CV, expressed in 1/128th of a semitone
(0.65mV increments).
TS (TUNING SYSTEM) selects alternative scales and tuning systems. EQ(UAL TEMPERAMENT) is the
default choice. JU(ST INTONATION) uses a simple algorithm to adjust each note by a few cents within its
equal temperament value to increase consonance with the notes played on the other channels, or the
most recently played notes. PY(THAGOREAN) uses a pythagorean scale, in which all notes’ frequency
ratios are expressed as rational numbers (as opposed to powers of 2\^-1⁄2 for equal temperament). EB, E,
and EA have these respective notes shifted down by one quartertone. The settings numbered from 01 to
27 are ragas from the Maihar Gharana - these settings not only affect tuning but also eliminate some
notes from the scale to leave only the shrutis belonging to the raga. The last setting, CU(STOM) uses an
octave pitch table which can be sent by SysEx using the MIDI Tuning Scale/Octave Extensions
(CA-021/RP-020) of the MIDI standard. This web app can be used to create tunings using the very popular
Scala scale description language.
TR (TUNING ROOT) acts in the same way as a transposition control, but instead of shifting notes
up/down, it rotates up or down the tuning table (whether it is one of the preset tables or the one received
by MIDI). For example, if a tuning table with a quarter-tone E has been programmed, setting TR (TUNING
ROOT) to C# will rotate the tuning table one semitone up, and the quarter-tone will be on the note F
instead. This setting has no effect in equal temperament tuning. For the ragas settings, this is equivalent
to moving the “Sa” up or down on the keyboard.
Before diving into the sequencer and arpeggiator, a presentation of Yarns’ clocking system… All the timing
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information for the sequencers, arpeggiators, and euclidean pattern generators derive from the same clock
- though each part can be tuned to its own subdivision of this clock.
Yarns can use either its own internal clock, or an external MIDI clock source. The tempo is adjusted by
modifying the TE(MPO) setting. Below 40 BPM, the display shows EX(TERNAL) - which means that the
internal clock will not be used and that external MIDI clock messages are expected. Note that the display
only shows the last 2 digits of the tempo; but rhythmically blinks - so there’s no confusion between 60 and
160, or 120 and 220! The tempo can also be set by tapping on the tap tempo button on the front panel.
Some swing might be applied to the internal clock - its amount is controlled by the SW(ING) setting.
A divider is applied to this tempo. Its ratio can be controlled by the I/ (INPUT CLK DIV) setting. This can
be used to create drastic tempo changes in a sequence.
With single and dual voice layouts (1M, 2M, 2P, 2>, 4>), or with the quad-trigger layout (4T), a clock and
bar/reset output is available on gate outputs 3 and 4. The clock output emits a pulse signal at a division of
the main clock. The rhythmic subdivision is selected by the O/ (OUTPUT CLK DIV) setting - the default
value being 16 (1/16th note). The start/bar trigger output emits a trigger whenever the sequencer is
started, but can also be configured to re-emit a trigger every Nth quarter note. This value is defined by the
B- (BAR DURATION) setting. Set it to oo and a pulse will only be emitted when the sequence start. Set it
to, for example, 4, and a pulse will be emitted at the beginning of each 4-beats bar. Set it to 0 and the
output will stay high while the sequence is running.
In the quad voice layouts (4M, 4P, 8>), gate outputs 3 and 4 are reserved for controlling the gate of
voice/channel 3 and voice/channel 4. However, these outputs can be replaced by clock and bar/reset
outputs, as described in the previous paragraph, by enabling the C> (CLOCK OUTPUT) setting.
The arpeggiator allows chords to be transformed into monophonic sequences, according to preset
arpeggio movements (up, down) and rhythmic patterns. In addition, an Euclidean generator can take over
the arpeggiator’s rhythmic generator. This section describes all settings related to arpeggiation.
C/ (CLOCK DIV): elementary rhythmic division of the patterns generated by the arpeggiator and
sequencer (in other words: step duration or “scale” in x0x speak). The default setting is 1⁄16 (1/16th note).
G- (GATE LENGTH): duration of the events generated by the arpeggiator and sequencer - expressed as a
number of steps. For example, if the clock division is 1⁄16 and the gate length is 4, the duration of the
notes generated by the arpeggiator will be 1 quarter note.
AR (ARP RANGE): arpeggiator range in octaves. The arpeggiator does not run when this setting is zero.
Note that when the 4T layout is selected - this setting is called RG (RHYTHMIC GENERATOR) and
provides only ON and OFF setting - talking about arpeggiation range and direction does not make a lot of
sense when dealing with rhythms… but it’s still the same arpeggiator and euclidean sequencer doing the
hard work! Settings related to arpeggiator direction are not displayed either.
AD (ARP DIRECTION): arpeggio type. The first options are the classic UP, DN (down), UD (up & down)
and RA(NDOM) modes. PL(AYED) arpeggiates the notes in the order in which they have been pressed.
CH(ORD) is a gated chord effect - rhythmically repeating all pressed notes.
AP (ARP PATTERN): arpeggiator rhythmic pattern. Note that when the euclidean generator is enabled, it
takes control of the rhythmic pattern and this setting is ignored. This setting is called RP (RHYTHMIC
PATTERN) when the 4T layout is selected.
E- (EUCLIDEAN LENGTH): length of the euclidean pattern. When set to 0, the euclidean generator is
disabled, and the AR (ARP PATTERN) setting is used. Otherwise, this sets the duration, in steps, of the
rhythmical pattern.
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EF (EUCLIDEAN FILL): number of filled steps in the euclidean pattern. For example length = 4 and fill = 1
will give a basic 4⁄4 “Four to the floor” beat. Fill = 2 will create a pattern of eighth notes instead. Fill = 3
produces a pattern of 3 sixteenth note and a sixteenth note rest. Finally, fill = 4 will create a pattern of
sixteenth notes. More complex patterns can be created by increasing the length, and using odd values for
Fill!
ER (EUCLIDEAN ROTATE): this setting shifts and wraps the euclidean pattern. This is particularly useful
when using several parts (for example in 4T mode to drive 4 percussive sub-patches). If two parts are
configured with the same settings (For example length = 4 and fill = 1 to get a “four to the floor” beat), they
will be synchronized and this can be boring. The rotate setting can be used to offset a part with respect to
the other, and create more interesting rhythms. Pamela!!!
Yarns’ arpeggiator starts immediately whenever a key is pressed on the keyboard. When all keys are
released, the arpeggiator continues running for a few clock ticks (a length equivalent to an eighth note);
and if no key has been pressed in this short period, it stops. This short window allows glitch-free play
when transitioning from one chord to another in an arpeggiated sequence.
The arpeggiator has a latched mode. While an arpeggio is playing, hold the START/STOP button for a
second to latch the arpeggiator. The display shows “//”. In latched mode, releasing all keys will no longer
stop the arpeggiator - the arpeggiated pattern will continue until a new chord is played. To leave the
latched mode, press the START/STOP button again. This will not stop the arpeggiator - instead, it will
continue with the current pattern, until a new key is pressed.
Yarns also provides a way of triggering one-note arpeggios or hold notes without the need for an external
keyboard. Hold the START/STOP button for a second. A note will be played and held. Its value is shown
on the screen and can be adjusted using the encoder. Click the encoder to access other settings, and
press the start/stop button again to stop the held note.
A monophonic, 64-step sequencer is available for each part. The sequencer is inspired by the SH-101, in
that the primary way of inputting sequences is to use a keyboard and record the notes step by step.
Each step can store either:
a note (with its velocity value and a “slide” status).
a rest, which indicates a silent step.
or a tie, whichs indicate that the note triggered at the previous step is not stopped, but rather prolonged unto
this step.
To record a sequence, press the REC button. When a multi-timbral layout is used, the display will blink to
let you select which part has to be recorded. Select a part number and click the encoder to confirm.
The display then indicates the index of the step to be recorded. Play a note on the MIDI keyboard to add it
to the sequence. Press one of the TIE or REST buttons to insert a tie or rest. Press REC when you are
done, to leave the recording mode. Observe that the sequencer goes back to step 1 once you go past the
64th step - the sequence is not lost when this happens!
303-style slides can be recorded by wiggling the pitch-bend lever before playing a note. The exact motion
of the pitch-bend lever will not be recorded - but the sequencer will remember that the following step will
be played with a long portamento.
In case an error is made during recording, the encoder can be used to go back to a previously recorded
step and re-record it.
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Recording notes without keyboard is also possible: Click the encoder, select a note (it will be sent to the
CV output so you can hear the result), and click the encoder to enter it. Notes recorded this way always
have a full velocity.
To play a sequence, press the START/STOP button. To stop playback, press the START/STOP button
again. When the unit is configured to use an external clock, the sequencer can also be started/stopped by
sending the corresponding MIDI messages. While the sequencer is playing, the keyboard can be used to
transpose the sequence. In monotimbral modes, transposition is relative to the first note in the sequence.
While a sequence is playing, pressing the REC button will put the unit in recording mode, but the original
sequence will not be immediately erased. Instead, it will continue looping and be progressively replaced
by the notes you input. This allows the sequence to be edited and rewritten on the fly while it is playing.
An important thing to remember about the sequencer is that the sequencer and arpeggiator cannot be
used together. When the START/STOP front panel button is pressed, or when a MIDI start message is
received, the sequencer starts. When the sequencer is not running and a Note message from the
keyboard is received, the arpeggiator starts instead.
8 memory slots are available to store and recall programs - which capture all of Yarns’ settings including
sequences and the tuning information received by MIDI.
Press the encoder for a second to display the load/save menu. When this menu is displayed, the display
pulsates. Select *L(OAD*) and click the encoder to select the number of the program you want to load.
Select – to cancel.
Select *S(AVE*) and click the encoder to save the current settings into one of the 8 slots. Select – to
cancel.
Select *I(NIT*) and click the encoder to reset the current settings to basic settings (120 BPM, mono layout,
no arpeggiator or sequencer).
Select *Q(UICK SETUP*) and click the encoder to rapidly build a setup from notes input from a MIDI
keyboard (see next section).
Select *>(SYSEX DUMP)* to send the current settings as a block of SysEx data to the MIDI out. They can
be recorded in a SysEx librarian utility and sent back later to restore these settings.
*C(ALIBRATE)* displays the calibration menu (see next section).
*E(XIT)* leaves the LOAD/SAVE menu.
When Yarns is powered on, the first program (P1) is always loaded. It is recommended to regularly save
your work there.
Yarns offers a “quick setup” option to rapidly cut through the menu diving when setting up channels and
layouts. Press the encoder for a second to display the load/save menu. Select *Q(UICK SETUP*) and
click the encoder to start. The display shows “++”. Play notes from your keyboard(s)/controller(s) and click
the encoder.
If only one note has been played, a monophonic setup (1M) is created for the channel on which the note has
been received.
If two notes have been played on the same channel, a duophonic (2P) setup is created. More than 2 notes,
and a quadraphonic (4P) setup is created.
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If notes have been received from 2 or more different channels, a multi-timbral setup is created for these
channels (2M or 4M).
If adjacent notes (such as B and C ; or F and F#) have been played, a split is created at this point.
If all notes are received on channel 10 (traditionally assigned to drums in the GM standard), a Triggers setup
(4T) is created, with each part being triggered by one of the played notes.
If some notes are received on channel 10, and some notes on other channels, a multi-timbral setup is
created, with one part per note on the channel 10 (for triggering percussions), and general purpose
monophonic parts assigned to the other channels.
A multimeter with at least 4 1⁄2 digits of precision is needed for this step.
To enter the calibration menu, press the encoder for one second and select *C(ALIBRATE)* in the list.
The display shows the active CV output. Use the encoder to select the output to calibrate, or select OK to
exit the calibration mode.
Once a CV output has been selected, connect a patch cable from this output to your multimeter. The
display indicates the voltage, in Volts, that should be read on the multimeter (-3 at the beginning of the
procedure), when measuring the voltage between ground and the CV output of the module. If the reading
is incorrect, click the encoder (the display blinks), and rotate the encoder until the target voltage is
reached. Click when you are done - the display no longer blinks. Select the next voltage in the list, and do
the necessary adjustments. Calibration has to be done for all voltages between -3V and +7V. Select “OK”
after the last voltage has been adjusted. The part selection menu is shown. Calibrate the other CV output
channels if necessary.
Good luck! We have automated this procedure on our end!
Power on your modular system with Yarns’ encoder pressed. The first character of the display will show a
“snake” pattern. Yarns is now waiting for a SysEx data transfer on its MIDI input port.
The SysEx data needs to be sent with a delay of at least 100ms between packets. As packets are
received, the number on the screen is updated, indicating the total amount of data, in kilobytes, received.
The firmware contains between 64 and 100 packets.
Once the last packet has been received, OK is displayed, and the unit restart after one second.
In case of a transmission error, the display shows Er and you have to restart the transmission. Try
increasing the delay between bytes and/or the delay between packets - some MIDI interfaces have rather
small buffers and choke on large blocks of SysEx data. We recommend Elektron’s C6 tool (available for
both Windows and OS X) or Snoize SysEx Librarian.
This product is covered by Mutable Instruments’ warranty, for one year following the date of manufacture.
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, or exposure to extreme temperature or moisture levels.
The warranty covers replacement or repair, as decided by Mutable Instruments. Please contact our
customer service (support@mutable-instruments.net) for a return authorization before sending the
module. The cost of sending a module back for servicing is paid for by the customer.
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Mutable Instruments encourages modding and hacking, but we will not service modified units or provide
any assistance in the realization of mods.
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