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A computer of three diamonds:
The Mitsubishi ML-F80

In the early 1980s, the personal computer market was like the Wild West. Different manufacturers developed their own systems, each with their own operating systems, hardware, and software. Amid this technological chaos, Japanese electronics giant Mitsubishi Electric came up with a solution that uniquely linked it to the history of the home computer world: the company adopted the MSX standard. The Mitsubishi ML-F80 was an MSX1-compliant home computer designed primarily for home users and educational environments. It was part of the first wave of the MSX era and was part of the company’s effort to enter the rapidly growing personal computer market. The machine had a modest and minimalist design: a rectangular device with a built-in keyboard and connections for a cassette drive, television, and peripherals. The ML-F80 was durable and streamlined in design – typical of Japanese engineering in the 1980s.

When started up, the ML-F80 went directly to the MSX BASIC v1.0 environment, where users could program their own applications or run software. Games, educational applications, and word processing programs could be loaded via the cassette drive. The software selection in Japan was diverse, and there was a wealth of material available for MSX computers, especially for educational use. Mitsubishi supplied its own software packages with the ML-F80, which could include simple educational games or word processing programs. The ML-F80 was designed specifically for home use and school environments, and its technical implementation strictly adhered to the MSX1 standard, ensuring compatibility with hundreds of programs and accessories. The machine was not the cheapest option on the market, but its quality and the Mitsubishi name gave it credibility. One of its greatest strengths was its good signal output—the RGB output in particular made it attractive to users who wanted to connect their machines to higher-quality display devices. For many users, this was a step away from grainy TV images.

Sales of the ML-F80 were mainly concentrated in the Japanese market, and it did not become a significant export product. As a result, its sales figures were probably lower than those of MSX models from better-known manufacturers such as Sony or Panasonic. The Mitsubishi ML-F80 was launched in Japan in 1983 at a price of around 59,800 yen. At the exchange rates of the time, this was equivalent to approximately US$250–300. The ML-F80 was not officially available in Finland, so its price here would have been higher if individual units had been imported privately. Today, the ML-F80 is a fairly rare MSX1 machine, especially outside Japan. Its clean design and Mitsubishi brand make it an interesting item for collectors. Some units may have capacitor problems, but otherwise the machines are often in good condition. In summary, the Mitsubishi ML-F80 was a well-balanced, high-quality MSX1 machine that showcased Mitsubishi Electric’s technical expertise in the domestic microcomputer market. It may not have achieved great commercial success, but it went down in history as a well-built and reliable representative of the MSX platform.

Sony’s Early Endeavour into Home Computing

Before the PlayStation, before Sony was a household name in gaming, the Japanese electronics giant had an ambitious vision: to bring Sony-branded computing into homes worldwide. This vision materialized in the form of the Sony HitBit line of home computers, released during the 1980s. While they never achieved the enduring success of later Sony consoles, the HitBit machines remain a fascinating chapter in the history of personal computing — one that reflects both the promise and limitations of the MSX standard they were built upon. In the early 1980s, the home computer market was highly fragmented. Each manufacturer — from Commodore to Apple to Sinclair — had its own proprietary hardware and software, making compatibility a nightmare. In 1983, Microsoft Japan’s Kazuhiko Nishi introduced the MSX standard, aiming to create a unified platform for home computers in the way VHS had standardized videotape. The MSX specification defined the architecture, but left room for manufacturers to differentiate in design and features. Sony, eager to expand its consumer electronics empire, embraced the MSX concept. In 1983, it introduced the Sony HitBit line, targeting students, hobbyists, and small offices. The name “HitBit” was meant to evoke a blend of high technology (“bit”) and consumer appeal (“hit”), positioning the computers as trendy yet functional. HitBit computers stood out for their build quality and sleek industrial design, hallmarks of Sony products. Early models like the HB-55 and HB-75 used a compact, all-in-one keyboard form factor, with the computer’s mainboard built into the keyboard housing. This kept costs down and appealed to households with limited desk space. The keyboards often featured function key strips with paper inserts for labeling, a nod to user customization. Sony’s range eventually expanded to include higher-end models such as the HB-101, HB-201, and the HB-F900, the latter belonging to the MSX2 generation, which supported enhanced graphics, more memory, and improved disk handling. Some models incorporated built-in floppy disk drives, a luxury at the time, while others relied on cassette tapes for storage — a slower but more affordable option.

While specifics varied by model, the first-generation HitBits were based on the MSX1 standard:

• CPU: Zilog Z80A running at 3.58 MHz

• RAM: Typically 64 KB (some models 16 KB or 32 KB)

• Video: Yamaha VDP supporting 16 colors and up to 256×192 resolution

• Sound: AY-3-8910 programmable sound generator (3 channels)

• Storage: Cassette interface, optional floppy drives on higher models

• Cartridges: Two MSX cartridge slots for software, games, and expansions

One of the biggest draws of the HitBit — and of the MSX standard in general — was the library of cartridge-based games. Major Japanese developers like Konami,  produced hits for MSX that could be played on any compliant system, including the HitBit. Titles such as Metal Gear, Gradius, and Penguin Adventure gave HitBit owners access to the same experiences enjoyed by owners of rival MSX machines. Beyond gaming, the HitBit also supported productivity software — word processors, spreadsheets, educational programs — often localized for specific markets. Sony released several creative tools under its own branding, including music composition programs that leveraged the AY sound chip, and art tools that took advantage of the HitBit’s graphic capabilities.

Sony targeted both domestic and international markets with the HitBit. In Japan, the machines competed with offerings from Panasonic, Yamaha, and Toshiba, often marketed as stylish and slightly premium. In Europe, particularly Spain, the Netherlands, and the UK, the HitBit gained a modest following thanks to MSX’s push in those regions. Latin America, especially Brazil, also saw some presence, though local clones and licensing deals were more common there. Despite these efforts, MSX never truly cracked the US market, where the Commodore 64, Apple II, and later IBM PC compatibles dominated. This limited the global penetration of the HitBit brand. By the late 1980s, the MSX platform began losing ground to more powerful personal computers like the Amiga and Atari ST, as well as the rapidly growing IBM PC compatible ecosystem. Sony continued to produce MSX2 and MSX2+ models, but the market’s enthusiasm waned. By the early 1990s, MSX was effectively a niche retro-gaming and hobbyist platform. For Sony, the HitBit experiment was both a technological showcase and a lesson in the risks of backing a standard that failed to achieve universal adoption. While the HitBit line was well-regarded for its design and durability, it couldn’t overcome the shifting market dynamics.  Its robust build, distinctive styling, and compatibility with a wide range of MSX software make it a sought-after collector’s item. Emulators allow modern users to experience the HitBit’s library, and some hobbyists still develop new software for MSX hardware. In a way, the HitBit foreshadowed Sony’s later success with the PlayStation: a stylish, powerful entertainment device built on a strong foundation of third-party software. The difference was that with PlayStation, Sony controlled the platform outright rather than relying on an industry-wide standard. While the HitBit never became the “VHS of home computers,” it remains a charming and important milestone in Sony’s evolution from an electronics manufacturer into a major player in interactive entertainment.

The Sony HitBit series, introduced in 1983, was Sony’s flagship contribution to the MSX standard. While the MSX ecosystem included many manufacturers — Panasonic, Yamaha, Toshiba, Sanyo, and others — Sony’s HitBit models carved out a distinct identity. They also competed indirectly with non-MSX systems such as the Commodore 64, which was a market leader in the home computer segment throughout the 1980s. Although the HitBit shared much of its underlying architecture with other MSX machines, Sony’s execution brought unique advantages in design, usability, and features. Sony’s reputation for sleek, durable consumer electronics carried over to the HitBit line. Other MSX systems sometimes lacked these small but thoughtful features. The Commodore 64 had excellent third-party support, but its keyboard layout was less intuitive for productivity tasks. Commodore 64’s VIC-II graphics chip remained powerful for its time, but by the mid-1980s, MSX2 HitBits could produce sharper, more detailed visuals. The Commodore 64’s SID sound chip was still superior for pure audio synthesis, but the HitBit’s multimedia ecosystem had better integration with Sony’s video hardware, which was unmatched in the home computing space. In markets like Spain, the Netherlands, and Japan, the HitBit benefited from Sony’s premium brand image. It was marketed not just as a computer but as a modern, stylish lifestyle product. This helped it stand out from other MSX models that were marketed mainly on technical specifications or price. Commodore’s brand was strong in the US and parts of Europe, but Sony’s electronics pedigree gave the HitBit extra credibility in video, audio, and design-conscious segments.

Compared to other MSX computers, the Sony HitBit stood out for its industrial design, usability features, early adoption of MSX2, and multimedia focus. Against the Commodore 64, the HitBit offered sharper design, higher resolutions in later models, and stronger integration with video and music production tools — though it couldn’t match the C64’s legendary SID sound chip or massive software library in the Western market. For buyers in the 1980s who valued style, build quality, and multimedia potential, the Sony HitBit was one of the most attractive MSX options available. While it didn’t achieve the Commodore 64’s commercial dominance, it remains a symbol of Sony’s early ambition to fuse computing and consumer electronics into a single, elegant package

Sharp MZ-821 – A challenger from Japan

The Sharp MZ-821 is the key model in the MZ-800 series, released in Europe in 1984-85. It was equipped with a built-in cassette recorder, which distinguished it from other models such as the MZ-811 or MZ-831 . It used a Zilog Z80A processor (3,5467 MHz), 64 KB of RAM and 16 KB of video memory, expandable up to 32 KB. The ROM chip of the MZ-821 contains only a simple monitor and boot code – all programs are loaded from a cartridge, Quick-Disk or 5.25″ floppy drive. In basic use, the BASIC interpreter required a download, which took about four minutes for the cassette version – due to slowness, Quick-Disk or floppy disk were the preferred options. The display driver allowed 40/80 column text display, as well as graphic modes: 320×200 and 640×200 pixels in colour (four selectable, up to 16 colours with the VRAM option).

The choice of software was limited mainly to third-party BASIC, Pascal, Forth and Assembler interpreters. There were hardly any comersial games. The MZ-821 was also capable of downloading popular games to the MZ-700, such as Star Avenger, CHOCK-A-Block and LE MANS Turbo. Plug-ins and grammar software were available, developed by the community, but the commercial game and software offerings were modest.

Loading at start-up was slow. The ROM lacked BASIC, which made the machine cumbersome and slow to use. The software offer was limited, especially for commercial games, which reduced the value of the machine. Sharp MZ-821 shield

 

 

Sharp – when the brand is not enough

The Sharp MZ series computers were designed by Japanese electronics giant Sharp Corporation in the 1970s and 1980s. The series was developed primarily by Sharp’s Consumer Electronics Division, and more specifically by Sharp’s Business Computer Division, which focused on the design and production of microcomputers. Sharp’s MZ model series was launched in 1978 with the MZ-80K model, which was initially available as a kit in Japan and later as a ready-made assembly in Europe. The name “MZ” refers to “Microcomputer Z80,” referring to the Zilog Z80 processor used. The MZ-80K combined a display, keyboard, and cassette tape recorder into a single unit, making it compact and user-friendly. The MZ series computers did not include an operating system or programming language in ROM memory, but were loaded separately from a cassette. This “clean” design gave users freedom of choice in terms of software. Although the MZ series was not primarily a gaming platform, several games were developed for it that took advantage of the machines’ capabilities. For example, games such as Wizard’s Castle, Suicide Run, and Space Fighter were available for the MZ-700 model. Several games were also released for the MZ-800 model, and a total of 71 video games have been documented for the MZ-80K/700/800/1500 models, released between 1980 and 2023.

Clocks, Calculators, Computers and Casio

In the early 1980s, the home computer market was experiencing a rapid expansion, with manufacturers across the globe vying for a place in the living rooms of consumers. Among these, Casio, better known for its calculators and electronic instruments, made a foray into personal computing with the Casio MX-10, a machine that sought to combine affordability, accessibility, and basic computing functionality for beginners. Released in 1983, the MX-10 was positioned as an entry-level computer, ideal for students, hobbyists, and families who were curious about the possibilities of home computing. The Casio MX-10 featured a Z80-compatible CPU running at approximately 3.58 MHz and 16 KB of RAM, expandable to 32 KB. Its built-in BASIC interpreter allowed users to write programs directly, fostering both learning and creativity. Unlike more sophisticated machines of the era, the MX-10’s graphics and sound capabilities were modest, offering a simple text-based display and minimalistic audio output. Yet this simplicity was intentional, reflecting Casio’s vision of a computer that was easy to operate and understand, rather than a machine burdened with complexity or unnecessary features. One of the MX-10’s most notable aspects was its compact design and integrated keyboard, which made it approachable for users unfamiliar with computers. Finnish hobbyists and early computing clubs appreciated this accessibility, as it allowed beginners to experiment with programming, basic games, and educational software without requiring technical expertise. The MX-10’s BASIC environment supported a range of commands for creating simple animations, text-based games, and numeric calculations, offering a platform for creative expression even within its hardware limitations.

The software ecosystem for the MX-10, while not as extensive as that of competitors like the Commodore 64 or ZX Spectrum, included a mix of educational programs, utility applications, and simple games. Early Finnish computer magazines occasionally reviewed the machine, noting its affordability and educational potential. They praised its straightforward operation, which made it ideal for schools and students learning programming fundamentals. At the same time, critics pointed out its limited graphics and sound capabilities, which made it less suitable for complex gaming or multimedia applications. Nevertheless, the MX-10’s design philosophy emphasized usability and learning, which resonated with its target audience. Gaming on the MX-10 was modest but entertaining. Text-based and early graphic games demonstrated that even simple systems could provide fun and engagement. Users could create their own games using BASIC, or load programs from cassette tapes, which was the primary storage medium. This hands-on approach to computing encouraged experimentation and problem-solving, as users learned to debug code, design game logic, and manage the machine’s limited memory. Titles involving racing, puzzles, or simple simulations allowed players to explore creativity within the constraints of the system, fostering skills that would remain valuable even as computing technology evolved.

One of the MX-10’s strengths was its educational potential. Casio marketed the machine as a tool to introduce young users to programming and computational thinking. The combination of a built-in BASIC interpreter, expandable memory, and a simple interface meant that students could engage in hands-on learning without the intimidation of more complex systems. In Finland and other European countries, where home computing was gaining popularity, the MX-10 found a niche among parents and educators seeking an entry-level computer that was approachable yet capable of meaningful tasks. Its low price point and ease of use made it a natural choice for classrooms, hobbyists, and families experimenting with digital technology for the first time. Despite its simplicity, the Casio MX-10 reflected the broader trends in 1980s computing: the democratization of technology, the rise of educational software, and the desire to make programming accessible to a wider audience. While it could not compete with the graphical sophistication or memory capacity of machines like the Commodore 64 or the ZX Spectrum, it carved out a space as a friendly, approachable, and educational home computer. Its design encouraged curiosity and engagement, offering a platform where beginners could learn fundamental computing skills, explore software, and even create their own content.

The MX-10’s legacy is modest but meaningful. It represents a moment in the history of home computing when companies outside the traditional computer industry, such as Casio, sought to introduce accessible technology to everyday users. Its simplicity, affordability, and focus on education made it a valuable stepping stone for a generation of users who would later encounter more advanced systems. Finnish hobbyists and retro computing enthusiasts continue to remember the MX-10 fondly, as a machine that invited experimentation, learning, and playful exploration, reflecting the optimism and creativity of the early 1980s personal computing era. Ultimately, the Casio MX-10 exemplifies the spirit of early home computers: approachable, educational, and designed to inspire curiosity. While it lacked the power and graphical sophistication of its more famous contemporaries, it succeeded in its goal of introducing users to programming, problem-solving, and the world of digital technology. Its simplicity was its strength, allowing beginners to focus on the fundamentals of computing and providing a gateway into the vibrant ecosystem of 1980s home computing. For many, the MX-10 represents a nostalgic reminder of the beginnings of personal computing, when small, humble machines opened up a world of possibility and learning.

 

The Atari STE:
A Technological Evolution of the ST Line

In the fast-paced world of 1980s personal computing, Atari was one of the most innovative yet underappreciated players. Following the success of its ST line, Atari introduced the STE series in 1989 as a significant upgrade to its aging ST architecture. Among the first models was the Atari 520 STE, a machine designed to bring improved multimedia performance to home users at a competitive price. Though it failed to achieve mainstream success, the STE series remains a cult favorite among retro computing enthusiasts. Released in 1989, the Atari STE was an enhanced version of the Atari ST, designed to meet the growing demands of the rapidly evolving home computer market. It introduced technical improvements such as a broader color palette, improved PCM audio, a Blitter graphics chip, and easier RAM expansion. Despite these upgrades, the STE quickly fell behind its competitors. Its main rival was the Commodore Amiga 500, which had gained a strong foothold, especially in gaming. The Amiga’s four-channel stereo sound, advanced graphics hardware, and large game library made it a dominant force. An active demo scene and wide software support reinforced its position. At the same time, IBM-compatible PCs were becoming more common in homes, thanks to affordable VGA graphics cards and Sound Blaster audio, which dramatically improved multimedia performance.

Atari desk at The Computer Museum of Kallio in Helsinki, Finland.

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Although the Atari STE was competitively priced and technically capable, it suffered from a lack of software that took advantage of its new features. Developers continued to build software for the older ST base, and few titles were optimized for the STE’s enhanced capabilities. Moreover, Atari failed to market the machine effectively, especially in North America, limiting its visibility. In the end, the STE became a transitional system—too little to entice existing ST users to upgrade, and not compelling enough to attract new ones. Despite its potential, it was overshadowed by the Amiga and emerging PC market.

The Atari STE (Enhanced ST) computers were introduced in late 1989, aimed at revitalizing the ST platform to compete with more advanced systems like the Commodore Amiga. The STE line retained the same Motorola 68000 CPU running at 8 MHz as the earlier ST models but added several key hardware enhancements, primarily in graphics, sound, and expandability. The 520 STE was launched alongside the 1040 STE and positioned as a more affordable entry point into the upgraded STE ecosystem. The Atari 520 STE came with 512 KB of RAM, expandable to 4 MB via SIMM sockets—an important shift from the soldered memory of earlier ST machines. Its main strengths over the 520 STFM (its direct predecessor) included:

• Enhanced Graphics: The 520 STE supported a 4096-color palette (up from 512) and allowed for hardware scrolling and blitter acceleration, which made graphics rendering smoother and faster—essential for games and multimedia.
• Improved Sound: While the ST line used the Yamaha YM2149 sound chip, the STE introduced a 2-channel 8-bit stereo PCM DAC (Digital-to-Analog Converter), significantly improving audio playback quality and enabling sampled sound effects and music.
• New Ports: The STE added two analogue joystick ports, making it more suitable for action games and flight simulators.
• Expandable Memory: As noted, users could easily upgrade memory using off-the-shelf SIMMs, allowing software and games to take advantage of more RAM.

These enhancements made the 520 STE more appealing to developers who wanted better multimedia support, although full adoption lagged due to backward compatibility concerns and a relatively small installed base. At launch, the Atari 520 STE was priced around $300–400 USD (or roughly £250–300 in the UK), making it a competitively priced multimedia computer in its class. Its affordability was a selling point, especially when compared to similarly specced Amiga models. Though most software and games during the early years of the STE’s life were written for the original ST series, some developers began targeting the STE’s enhanced hardware by the early 1990s. Notable STE-optimized games include:

• Obsession – a pinball game that used the STE’s improved sound and smooth scrolling.
• Lethal Xcess – a shooter that utilized the STE’s blitter and palette for more dynamic visuals.
• Zero-5 – an ambitious 3D space combat game released later in the STE’s life cycle.
• Enchanted Land – a platformer with enhanced scrolling and color use.
• Wolfenstein 3d – developed by indie programmers to version the ST

Beyond games, the STE continued to enjoy support in music production (thanks to built-in MIDI ports) with software like Cubase and Notator. Desktop publishing, graphics design, and programming tools were also available. Productivity suites such as Calamus and Papyrus made it possible to do semi-professional work on the STE. Despite its improvements, the STE failed to capture a significant share of the personal computing market. Production of the STE line ended around 1992, shortly before Atari shifted focus to the Falcon and eventually the Jaguar game console. There were several reasons why Atari STE did not succeeded so well as ST-series before:

• Software Incompatibility: Some early units had minor compatibility issues with older ST software, which hurt adoption.
• Slow Developer Adoption: Developers were reluctant to fully exploit STE-only features because the original ST had a much larger user base.
• Rise of PC Compatibles: By the early 1990s, DOS-based PCs were becoming more affordable and better supported in both business and gaming markets.
• Atari’s Marketing Weaknesses: Poor advertising and limited distribution hampered sales, particularly in the U.S.

Today, the Atari STE is considered a hidden gem in retro computing. Its balanced multimedia capabilities, expandability, and compatibility with a wide range of ST software make it an appealing system for collectors and retro gamers. Enthusiasts continue to develop demos, utilities, and STE-optimized games even in the 21st century. Modern upgrades such as SD card-based hard drive emulators, HD video adapters, and USB peripherals have given the STE a second life. Active communities across forums and retro computing sites help keep the legacy alive. At the time of release, the Atari STE received mixed reviews. Many praised the improved graphics and sound, but were disappointed by the lack of immediate software support. Magazines such as ST Format and Atari ST User noted the potential of the hardware but lamented that developers were not yet taking full advantage of it. User feedback was generally positive among new buyers, especially those who didn’t already own an ST. For existing ST owners, the upgrade was not always compelling due to software parity. The STE is recognized as a solid and well-designed machine, albeit one that came too late and without the software ecosystem needed to make it thrive. The Atari 520 STE was a capable, forward-thinking machine that brought meaningful enhancements to the ST platform. While it didn’t achieve mainstream success, its hardware improvements were impressive for the price, and it holds a respected place in computing history—especially among enthusiasts who continue to explore its capabilities today.

Professional Ambitions in the
16-Bit Era by Atari

In the second half of the 1980s, personal computing was undergoing a period of rapid transformation. The early 8-bit home computer boom had given way to a new generation of 16-bit machines that promised far more power, sophistication, and versatility. In this changing landscape, Atari—best known in the public imagination for video games and home consoles—sought to redefine itself as a serious contender in professional computing. The result was the Atari Mega ST series, followed a few years later by the refined Mega STE. These machines combined the graphical, multitasking environment of the ST family with new features aimed squarely at business users, desktop publishers, and musicians.

Origins and Release

The Atari ST line itself debuted in 1985, shortly after Atari had been acquired by Jack Tramiel, the former head of Commodore. Tramiel’s goal was clear: deliver affordable but capable 16-bit machines to compete not only with the Apple Macintosh and Commodore Amiga but also with IBM PCs. The ST computers were based on the Motorola 68000 CPU, running at 8 MHz, and shipped with the GEM graphical operating environment from Digital Research. The Atari Mega ST series was announced in 1987 as a higher-end branch of the ST family. Where the earlier 520ST and 1040ST were marketed largely to consumers and hobbyists, the Mega ST aimed at professionals. It came in three memory configurations—2 MB, 4 MB, and 8 MB—and featured a detached, full-sized keyboard, a more robust system case, and an internal expansion bus. This design gave the Mega ST the look and feel of a business workstation, more akin to the Macintosh II or IBM PC/AT than to a home computer. In 1991, Atari released the Mega STE, a natural evolution of the Mega ST concept. It was based on the same 68000 processor but clocked at up to 16 MHz, making it roughly twice as fast. The Mega STE also introduced features from the Atari TT workstation (such as a built-in hard disk option and enhanced graphics modes) while maintaining compatibility with existing ST software.

Strengths of the Mega ST

The Mega ST quickly established itself as a machine with distinct strengths in several domains:

• Desktop publishing: Bundled with high-resolution monochrome monitors and supported by the Atari SLM804 laser printer, the Mega ST became one of the first affordable desktop publishing systems. With software like Calamus and PageStream, it offered capabilities that rivaled those of Apple Macintosh systems but at a fraction of the cost.
• Music production: Thanks to built-in MIDI ports, a rarity at the time, the entire ST line (including the Mega ST) became the computer of choice for professional musicians. Sequencers like Cubase and Notator were designed for the ST, and many major recording studios in the late 1980s and early 1990s relied on Mega STs as the backbone of digital music production.
• Professional design: The separate keyboard, sturdy case, and expansion bus gave the Mega ST a professional appearance and allowed for better ergonomics compared to the smaller ST models.
• Price-to-performance ratio: At launch, the Mega ST models were priced between $1,500 and $3,000 USD, depending on configuration. While not inexpensive, this was still considerably cheaper than Apple or IBM systems with similar graphical and publishing capabilities.

Expansion and Peripherals

One of the selling points of the Mega ST was its expandability. The internal expansion slot allowed third-party developers to create accelerator boards, memory upgrades, and even graphics enhancements. The machines also supported:

• External floppy and hard drives.
• The Atari SLM series of laser printers.
• Networking hardware for office use.
• A variety of MIDI devices, samplers, and synthesizers.

The Mega STE expanded on this flexibility by including a VME bus slot, allowing more sophisticated expansion cards (such as high-resolution graphics adapters and Ethernet boards) to be added.

Differences from the IBM PC

Though the Mega ST and its successor occupied similar professional niches to IBM PCs, they diverged significantly in architecture and philosophy. PCs of the late 1980s relied on DOS and a growing base of business software, while the Mega ST offered a graphical desktop environment (GEM) out of the box. The Atari machines were also more tightly integrated with multimedia features such as MIDI, which were virtually nonexistent in the PC world at the time. However, compatibility was always a challenge. The Mega ST could not natively run PC software, which limited its appeal in offices dominated by IBM standards. Some emulation options existed, but they were slow and rarely practical for business users who required mainstream applications like Lotus 1-2-3 or dBase.

Software for the Mega ST

The software library for the Mega ST was diverse, reflecting its dual identity as both a professional and creative machine.

• Desktop publishing: Calamus became legendary on the ST platform, and many small publishers used it to produce professional-quality magazines, brochures, and books.
• Music: Sequencers like Steinberg Cubase, C-Lab Notator, and Dr. T’s KCS transformed the Mega ST into a global standard in music studios.
• Graphics and CAD: Applications like Degas Elite and CAD 3D attracted designers and engineers.
• Business software: Word processors, spreadsheets, and databases were available, though they rarely matched the breadth and compatibility of PC equivalents.
• Games: While the Mega ST was positioned as a professional machine, it was still software-compatible with the broader ST family, meaning it could run thousands of games developed for the platform.

Reception in the Press

Atari’s Mega ST series was generally well received in the computing press, particularly in Europe. Reviewers praised the machines’ affordability compared to Apple and IBM products, as well as their suitability for desktop publishing and music production. The bundled monochrome monitors were often singled out for their sharp resolution, ideal for serious work. Criticism, however, centered on the lack of widespread business software, limited marketing outside Europe, and the challenges of competing in a market where IBM compatibility was becoming the de facto standard. In the United States, the Mega ST never achieved significant penetration, as businesses were already committed to PCs or Macs.

 

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The consolidation of the market towards PCs was the fate of Atari.

The Mega STE, introduced in 1991, was a capable refinement of the Mega ST, but by then the market had shifted dramatically. The early 1990s saw the rise of faster 32-bit systems, Windows PCs, and increasingly powerful Macs. Atari struggled to maintain relevance, despite its innovations. The company’s final push in the professional computing market came with the Atari TT030 workstation and the Falcon030 multimedia computer, but neither could reverse its decline. By the mid-1990s, Atari had exited the computer business entirely, focusing briefly on game consoles before ultimately disappearing as an independent company. The Mega ST series was most successful in Europe, particularly in Germany, the United Kingdom, and Scandinavia. Germany, in particular, became a stronghold for desktop publishing and MIDI music production using Mega STs. In the United States, however, sales remained modest, and the machines were largely overshadowed by the Macintosh in creative industries.

Legacy

The Atari Mega ST and Mega STE represent one of the most interesting chapters in Atari’s history. These machines bridged the gap between consumer-friendly home computers and professional workstations, and they gave Atari credibility in industries—music and publishing—where its name had never before carried weight.

Though their professional ambitions were ultimately undercut by the juggernaut of IBM compatibility, the Mega STs left a lasting mark. Musicians of the late 1980s and early 1990s often recall them as indispensable tools, while European desktop publishers remember them as the first affordable path to professional-quality print production. Today, retro computing enthusiasts regard them as elegant, forward-looking machines that might have succeeded more fully in a less PC-dominated world. The Atari Mega ST offered great value for money in the 1980s and early 1990s. It was a supercomputer in its class that was fully accessible to the average consumer.

 

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An Educational Computer of the Early 1980s

The early 1980s were marked by a rapid proliferation of home and educational computers, with dozens of manufacturers seeking a foothold in the emerging personal computer market. Among the more unusual systems of this era was the Microprofessor MPF-II, a small and relatively obscure machine produced by the Taiwanese company Multitech (which would later rename itself Acer). The MPF-II was released in 1982, at a time when the Apple II, Commodore VIC-20, and Sinclair ZX Spectrum were dominating the attention of hobbyists and consumers in different parts of the world. Rather than aiming directly at the mainstream home computer market, the MPF-II was designed primarily as an educational and training computer, intended to introduce beginners to the fundamentals of programming and microprocessor logic. The Microprofessor MPF-II was built around the MOS Technology 6502 microprocessor, the same CPU family that powered the Apple II, Commodore 64, and Atari 8-bit systems. However, unlike those machines, the MPF-II had a more limited architecture and was packaged as a compact learning tool rather than a full-fledged multimedia system. Its operating environment revolved around a built-in BASIC interpreter, giving learners immediate access to programming capabilities.

One of the MPF-II’s distinguishing features was its ROM-based software set. While it came with a limited built-in BASIC, users could expand its functionality through plug-in ROM cartridges that offered utilities, educational programs, or games. This modularity reflected its educational mission: schools and training institutes could tailor the system for different uses without needing expensive peripherals. Another unusual aspect was its low-cost, compact design. The MPF-II was often sold bundled with manuals that emphasized programming exercises, making it a hybrid between a training kit and a home computer. Visually, the MPF-II lacked the sleek casing of better-known home micros. It had a minimal keyboard, limited graphics capabilities, and modest sound support. Its display output was generally text-oriented, although simple graphics and colors were possible. These constraints made it less attractive as a mainstream gaming machine, but well suited for instructional settings. Despite its limitations, the MPF-II did have a modest library of games and educational titles. Because the system was compatible to some extent with Apple II software, certain programs were adapted or ported, though not always perfectly. Among the better-known titles available on the MPF-II were simplified versions of classic arcade-style games such as Breakout, Pac-Man clones, and Space Invaders variants. These were often distributed not by major Western publishers but by Asian educational software companies or local distributors bundling cartridges with the machine. Educational software was perhaps more central to its identity. Programs teaching mathematics, simple physics, and typing were common. The company itself, Multitech, published a series of cartridges designed to reinforce the MPF-II’s role as a classroom computer. Because the platform never developed a large independent developer community, most of its games and utilities came directly from the manufacturer or affiliated partners.

The MPF-II found its strongest markets in Asia and parts of Europe, particularly in regions where educational authorities or vocational schools were seeking inexpensive training computers. In countries like Taiwan and parts of Eastern Europe, the system gained a modest foothold because of its affordability and focus on programming education. In Western Europe, particularly the UK and Germany, the MPF-II was marketed but never achieved mainstream popularity, as machines like the ZX Spectrum, Commodore 64, and Amstrad CPC offered far richer gaming and home applications at similar prices. In the United States, the MPF-II was virtually invisible due to the dominance of Apple, Atari, and Commodore. Exact sales figures are difficult to determine, but historians generally agree that the MPF-II sold in the tens of thousands of units worldwide, not in the millions like its better-known contemporaries. Its limited appeal as a home entertainment device kept its market share small, but as a training computer, it met its niche goals reasonably well.

To better understand the place of the MPF-II in computing history, it is useful to compare it with some of its major contemporaries. The Commodore VIC-20 (1980) was marketed as the “friendly computer” and became the first computer to sell more than one million units. It offered color graphics, sound, and a large library of games at a very low price. For a family looking for both educational and entertainment value, the VIC-20 was far more appealing than the MPF-II. The Sinclair ZX Spectrum (1982), released in the same year as the MPF-II, took Europe by storm with its compact design, color display, and affordable price point. While the Spectrum also had limited hardware compared to higher-end machines, it inspired a massive software scene, especially in the United Kingdom. Thousands of games were released, creating a thriving ecosystem that the MPF-II never achieved.

By contrast, the Apple II (1977) was a fully realized personal computer platform, with expandability, robust graphics modes, and an extensive software library. Although far more expensive than the MPF-II, the Apple II established itself as a mainstay in education, small business, and even gaming. The MPF-II, which borrowed elements from the Apple II architecture but stripped them down, was perceived by many reviewers as an “Apple II imitation” that lacked the compatibility to benefit from Apple’s ecosystem. Even the Commodore 64 (1982), launched the same year, highlighted the MPF-II’s shortcomings. The C64’s advanced graphics and sound hardware, coupled with aggressive pricing and Commodore’s global distribution, made it the best-selling computer of the 1980s. Compared to the C64, the MPF-II felt more like a stopgap teaching tool than a platform for creativity, entertainment, or serious productivity. This contrast explains much of the MPF-II’s limited commercial impact. While it succeeded in fulfilling its narrow mission as an educational trainer, it could not compete in the broader consumer marketplace, where multimedia features, gaming libraries, and strong distribution networks determined success.

Contemporary press coverage of the MPF-II was mixed. Educational and technical journals often praised it for being inexpensive and relatively easy to use as an introduction to microcomputing. Reviewers highlighted its usefulness in teaching BASIC and familiarizing students with microprocessor concepts. Its bundled manuals were considered clear and accessible, which made the machine attractive for schools with limited budgets. However, mainstream computer magazines often criticized the MPF-II for its weak performance compared to similarly priced competitors. The limited keyboard, poor sound, and modest graphics capabilities meant that it could not compete with the wave of gaming-oriented micros flooding the consumer market. Some reviewers regarded it as a “cut-down Apple II” that lacked the compatibility and polish necessary to succeed outside classrooms. As such, while it earned respect as an educational trainer, it was rarely recommended for general home computing. The Microprofessor MPF-II ultimately occupies a minor place in the history of personal computing. Its importance lies less in its technical achievements than in its role as part of the early career of Multitech/Acer, which would go on to become a major global PC manufacturer. The MPF-II represents a moment when many companies experimented with producing training computers to satisfy the growing demand for computer literacy in the early 1980s. While overshadowed by giants like the Commodore 64 and Sinclair Spectrum, the MPF-II contributed to spreading programming knowledge, especially in regions where more powerful systems were either too costly or unavailable. Released in 1982, the Microprofessor MPF-II was an unusual educational computer that sought to bridge the gap between training kits and home micros. With its limited but serviceable BASIC environment, cartridge-based expandability, and focus on classroom use, it carved out a small niche in Asia and Europe. Its software library was modest, with educational programs and simple arcade-style titles published mainly by Multitech and affiliated partners. Though it sold only in modest numbers and was often criticized by the press for its limited multimedia features, the MPF-II remains a significant artifact of the early 1980s computing boom, and a stepping stone in the evolution of Acer as a global technology company.

A few games were also released, such as:

Autobahn
Beetle
Eliminator
Galaxy Travel
Gobbler
Gorgon
Head On
Micro Chess
Obstacle
Star Blazer
War!
Worms Wall

Acorn & ARM-processors:

How British schools contributed to their huge success

The Acorn BBC Micro, better known as the BBC Micro, was a British home computer that became extremely popular, particularly in the United Kingdom in the 1980s. The device was developed by Acorn Computers in collaboration with the BBC, and its purpose was to support the BBC’s The Computer Programme series and promote the understanding and teaching of information technology. In many ways, the BBC Micro became a symbol of the information technology revolution of the era. The BBC Micro was launched in 1981 and remained in production until 1994. The computer was designed and manufactured in the UK, specifically at the Acorn Computers factory in Cambridge. More than 1.5 million BBC Micros were sold worldwide, which was an impressive figure, especially considering that the device was relatively expensive and originally intended for the education market. Most of the sales took place in the UK, where the BBC Micro was the standard computer in schools and also popular for home use. In Finland, the BBC Micro was a more marginal phenomenon. It was less popular than, for example, the Commodore 64, which dominated the home computer market in Finland. The device was considered a high-quality but expensive option. Perhaps here is something in common with Apple computers?

The BBC Micro was an expensive device by 1980s standards. When it was launched in 1981, the basic model (Model A) cost around £235, while the more advanced Model B cost around £335. Taking inflation into account, this corresponds to around €1,000–1,500 in today’s money. In Finland, the price of the BBC Micro was even higher due to import costs and taxes, which limited its availability to home users. The strengths of the BBC Micro were its technical quality, versatility, and programmability. The device had a powerful MOS Technology 6502 processor, which enabled smooth performance in many tasks. The device was particularly popular for educational use because it effectively supported the BASIC language. In addition, the BBC Micro offered a wide range of interfaces and accessories, which also made it attractive for professional use. The computer was also well built. Its case was sturdy, and the keyboard was praised for its durability and ease of use. The BBC Micro was able to handle both text-based and graphical applications relatively well, which added to its appeal in different environments.

The high price was the device’s biggest weakness, limiting its popularity. In addition, the device’s graphics and sound capabilities lagged behind competitors such as the Commodore 64, which offered a better color palette and more versatile sound processing. The BBC Micro was also large and took up a lot of space on the desk. The BBC Micro was manufactured until 1994, although its popularity began to decline in the late 1980s. More powerful and affordable computers, such as the Commodore Amiga and Atari ST, began to dominate the market. The BBC Micro left a lasting mark on the history of information technology. In the UK in particular, the BBC Micro had a significant impact on the teaching of programming and information technology. Many users of that era became interested in information technology thanks to the BBC Micro and later moved into the technology sector. In Finland, its role was smaller, but the device is still well known, especially among technically oriented enthusiasts.

The story of ARM processor starts from Acorn BBC micro

In the early 1980s, Acorn Computers established itself as a leading innovator in the home and education computer market with its BBC Micro-type machines. Although these computers were primarily designed for classrooms and hobbyists, Acorn’s technical ambitions extended far beyond 8-bit home computers. The company sought to develop faster and more powerful processors for its next-generation machines. At that time, the performance limitations of standard 8-bit processors, such as the MOS 6502 used in the BBC Micro, became apparent as software became more complex. Acorn’s engineers realized that creating their own processor architecture could solve these limitations and open up new possibilities for information technology. This vision gave rise to the Acorn RISC Machine project, which later became known simply as ARM. Its design aimed at a reduced instruction set model called reduced instruction set computing (RISC). It emphasized efficiency, speed, and simplicity. Unlike traditional CISC processors, which used complex instructions, the ARM design emphasized a smaller, highly optimized set of instructions.

The connection between Acorn and ARM is therefore a direct legacy. Acorn’s experience with educational computers, software development, and hardware design influenced aspects of the early versions of the ARM architecture. Acorn’s engineers recognized the potential of a processor that could operate efficiently with limited resources and support graphics and multitasking applications that traditional 8-bit processors struggled with. ARM Ltd., which spun off from Acorn in 1990, continued to develop and license the architecture, and today it powers billions of devices around the world, from smartphones and tablets to embedded systems and servers. In many ways, the legacy of the BBC Micro and Acorn’s early computers lives on in every modern ARM chip: a focus on efficiency, accessibility, and future-oriented design connects the computers of 1980s classrooms with today’s cutting-edge technology. In summary, Acorn Computers and ARM are inseparable parts of the history of information technology. Acorn’s innovations, made possible by the BBC Micro and Archimedes, led to the creation of the ARM architecture. Today, ARM’s dominant position in mobile and embedded computing reflects the vision and technical genius of Acorn’s early teams and demonstrates that the seeds planted in educational computing in the 1980s have grown into a global technological legacy. This approach enabled lower power consumption, better performance per clock cycle, and reduced manufacturing complexity—principles that later made ARM the dominant architecture in mobile and embedded devices worldwide.