It seems to be common for people to lose the power supplies for the Seiko DS-101, DS-202 and DS-250. They use a DIN connector with no pinout indicated on the keyboard itself, so there’s no readily available replacement, or even an obvious way to build one. But they’re not really special or irreplaceable. It’s just an ordinary 13.8 VDC, 1000 mA unregulated supply with a 4 pin DIN plug. Pins 1 and 2 are positive and pins 3 and 4 are negative. At least on the DS-250, the positive terminals are toward the rear of the instrument. There’s a photo of the power supply here, including the pinout.

There are several possibilities for replacement. The best option might be to replace the DIN jack on the keyboard with an ordinary barrel connector so that it doesn’t need a special power supply. I don’t think it’s really possible to solder a barrel jack in place, but it would work well enough to use a female barrel connector with a lead. It would similarly work to attach a DIN plug to an ordinary adapter. Here’s the DS-250’s jack board with the DIN jack highlighted and the terminals labeled:


There’s also a simpler workaround: Alesis and Digitech used the same 4 pin DIN plug, with the upper and lower pins on each side connected together in the same way. Alesis and Digitech used 9VAC power supplies, so these can’t be used with the Seiko, but there are adapter cables available to convert a standard barrel connector to a 4 pin DIN plug. These should work for the Seiko, but I don’t know how this adapter is wired internally, so I don’t know what polarity the input power should be.


This material is from 2012 to 2016, made entirely in Pure Data.

I’ve got a large backlog of material that I’d like to see released. I’m going to try to release one album every two months until I’ve exhausted it all. I also realize that I don’t have a clear and complete discography anywhere that collects everything in one place. So, to give an idea of both past releases and the plan for things to come, here’s an overview:

Things that will never come out:
Blue Tape (1999)
Yellow Tape (1999)
Pink Tape (1999)
Black Tape (1999)
Untitled CD-R (2000)

Early netlabel releases:
shapes with and without corners (2001-2002)
blue music (2002-2003)
gray music (2002-2003)

Things that I might release/re-release eventually:
saccades part 1 (2003)
saccades part 2 (2004)
saccades part 3 (2004)
saccades part 4 (2004)
saccades part 5 (2005)
TBD compilation (2004-2007?)
TBD compilation (2001-2007?)
TBD (2008-2009)

Current and future releases:
eisegetic waiver (2005) [released 2008, revised and re-released 2017-09]
airburst parcel (2007) [released 2013]
impulse, vagaries and travel (2009-2010?) [to be released 2018-10]
sounder/resounder (2010-2012?) [to be released 2018-08]
agglomeration and homothety (2011) [released 2017-03]
crepitus weathering (2012) [released 2012]
flutter straight on the nine miles (2012) [released 2013]
hg iterated glass entering 3e2 (2013) [released 2013]
acheiropoietic ansätze (2012-2016) [released 2017-05]
intangible pavilions (2014-2017) [released 2017-07]
dissolving sponge reveals wooden duck (2016-2017) [released 2017-10]
adventitious auscultation (2010-2017?) [to be released 2018-06]
wave and lattice (2013-2017) [to be released 2018-02]
TBD [to be released 2018-04]
aleatoric aubades (2012-2017?) [to be released 2017-12]

Not really an album:
miscellaneous synth demos (2004-2012) [released 2012]

I scanned these some time ago. I think they’ve been hosted elsewhere by others, but they were all scanned by me originally. When I bought my MK1, it came with the German user manual; I bought the others on eBay. The German MK1 user manual is complete although not very good. English MK1 manual omits most of the sound programming sections, so you’ll have to refer to the German manual for that. The English EX20 manual isn’t particularly useful. The service manual is for the DX10 organ (the EX10R is the rack mount version of this). This shares most of the hardware with the MK1 and EX20, and also includes a drum board. I’ve seen a Wersi DX5 service manual floating around too. It’s electronically similar, but the boards are mostly different and not interchangeable with the other models. The matrix overlay diagrams are cobbled together from the German MK1 user manual.

Wersi MK1 German user manual

Wersi MK1 English user manual

Wersi EX20 English user manual

Wersi DX10 English technical manual

Wersi MK1 matrix overlays


This is from 2011. It’s mostly Pure Data, but I also used a lot of other stuff. I’ll be releasing more music very soon.

I sampled the drums from the Yamaha PSS-100. These are the same as the PSS-80 and PSS-125. There’s normally no output jack on these models, so I added one. Like the MK-100 drums, the tones and noise sources are free running, so the sound isn’t fully captured by single samples. Compared to the MK-100, the sounds are rather harsh, being based on square wave rather than triangle wave tones, and the sounds are significantly affected by the volume setting. The bass drum, snare drum, closed and open hi-hats were recorded at all volume levels (5 total). The remaining sounds (which I’m naming low conga and clave since they seem to make the most sense) can’t be isolated from the patterns, so they were sampled from the self test mode (this can be reached by holding the highest C and B keys while switching it on). In this mode the buttons in the “digital recorder” section trigger the individual drum sounds, but there’s no way to change the volume, so there’s only one sample each for these.

I made a recording with the Yamaha MK-100 and Roland SRV-2000 reverb only. I also sampled the drum sounds at 96 kHz. These don’t comprehensively replicate the sound of the MK-100, as the noise and tones are free running, but it’s close enough. These samples also cover the PSS-450 and PSS-260, which are based around the same IC.

The drum sounds of the Yamaha MP-1, PS-200, PS-300, PS-400 and PC-100 are very similar, but they’re tuned about a semitone higher. I’ve recorded those, but I can’t completely separate all the sounds, and I think it would be kind of redundant anyway.

Contrary to what’s sometimes assumed, the drum sounds are digital. Everything is actually digital except for the single BBD chorus.

More stuff should happen here soon.