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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.

Salora’s first effort enter to computer markets

The early 1980s witnessed a surge of personal computers entering the European market, many designed to challenge the rising popularity of British and American systems. Among the more unusual entries was the Salora Fellow, a Finnish home computer produced by Salora, an electronics company better known for televisions and audio equipment. The Fellow was introduced in 1983, during a period when affordable 8-bit machines like the Commodore 64, ZX Spectrum, and MSX were rapidly gaining ground. Salora hoped to capitalize on the growing interest in home computing and provide a domestic alternative for the Finnish market. The Salora Fellow was not an entirely original design but rather a localized version of a computer developed by VTech (Video Technology Ltd.), a Hong Kong–based electronics company. VTech had introduced the Laser 200 (also marketed as the VZ-200 in some regions), an inexpensive Z80-based home computer aimed at beginners and students. Instead of creating a machine from scratch, Finnish electronics manufacturer Salora licensed the design from VTech and rebranded it for the domestic market under the Fellow name. Technically, the Salora Fellow was nearly identical to the Laser/VZ-200, featuring 16 KB of RAM (expandable to 48 KB), a built-in Microsoft BASIC interpreter, simple color graphics, and cassette storage.

Technically, the Salora Fellow was built around the Zilog Z80 processor, a popular choice for many European micros of the era. It featured output to a television set, which aligned it with other budget computers of the time. Its design emphasized affordability, but compared to its international competitors it lacked advanced graphics and sound capabilities. Because of this shared heritage, most of the Fellow’s limited library of software and games was directly inherited from the VTech ecosystem. While marketed as a Finnish computer, the Fellow’s DNA was firmly rooted in VTech’s design, illustrating how global licensing and rebranding shaped the early 1980s home computer market. The Salora Fellow was primarily marketed in Finland, with some limited attempts at distribution elsewhere in Scandinavia. However, it never achieved large-scale popularity. Contemporary estimates suggest that only a few thousand units were sold before production ceased, making it more of a curiosity than a mass-market contender. Finnish consumers quickly gravitated toward the Commodore 64 and MSX machines, which offered broader game libraries and international support.

Finnish technology magazines and newspapers received the Fellow with cautious optimism but also skepticism. Some reviewers praised the idea of a Finnish-made computer, highlighting its educational value and low price. However, the limited software ecosystem, modest specifications, and lack of international traction led critics to conclude that it could not compete with more established brands. As the 1980s progressed, the Fellow was largely forgotten, overshadowed by global competitors. The Salora Fellow remains a small footnote in the history of Finnish computing. It was an attempt to enter the booming home computer market, it offered basic features and modest educational potential but failed to build a sustainable user base. With only a few thousand units sold and limited press enthusiasm, it disappeared quickly, remembered today mainly as a symbol of Finnish ambition during the formative years of personal computing. Just few years later, Finnish IT-industry was able to create world wide success in mobile phones.

In the early 1980s, the home computer revolution in the United Kingdom was based primarily on the mega popularity of one machine. That machine was the Sinclair ZX Spectrum. Released by Sinclair Research in 1982, it became a cultural icon. It introduced a generation of users to information technology, programming, and gaming. Its compact design, rubber keyboard, and distinctive color graphics set it apart from other machines of the era, such as the Commodore 64, and its affordable price made it accessible to households across Britain and Europe. By 1984, the ZX Spectrum had evolved into the ZX Spectrum+, an improved version of the original model. It corrected some of the limitations of its predecessor, but retained the features that had made the Spectrum a household name. The ZX Spectrum+ retained the core of Sinclair’s vision: a small, affordable machine capable of running a wide range of software. The Spectrum+ had a 3.5 MHz Zilog Z80A processor and, depending on the model, either 48 or 128 KB of RAM, which provided sufficient computing power for both home and educational use. Its graphics were limited to 256×192 pixels and eight colors, but this allowed for imaginative and engaging games that pushed the hardware to its limits. The sound was produced with a simple beep, but skilled programmers managed to create memorable music and sound effects, reinforcing the Spectrum’s reputation as a device where creativity often compensated for technical limitations.

One of the most striking features of the ZX Spectrum+ was its role in teaching programming. The device had a built-in BASIC interpreter that allowed users to write their own software, experiment with graphics and sound, and learn the basics of programming logic. This ease of use made the Spectrum+ popular in many European countries. Programmers began their careers by writing code from magazines, modifying it, and creating their own games. This DIY culture deepened understanding of the principles of information technology and inspired a generation to embrace technology in an interactive, hands-on way. Gaming on the Spectrum+ was a particularly significant part of its legacy. Despite its modest hardware, the platform had thousands of games in various genres, from arcade-style shooters and platformers to text adventures and strategy games. Developers learned to work around the machine’s limited memory and graphics capabilities with clever programming tricks, such as attribute conflicts, memory optimization, and creative use of colors. Players across Europe enthusiastically embraced games such as Manic Miner, Jet Set Willy, and Chuckie Egg, which became synonymous with the Spectrum experience. Spectrum+ also supported peripheral devices that enhanced the gaming experience and enabled a more interactive and responsive gaming experience. In addition to programming, the computer had several educational software programs for teaching mathematics, science, and language skills.

Spectrum+ addressed one of the biggest criticisms of the original ZX Spectrum, which was its rubber keyboard. The Spectrum+ model had hard keycaps, which improved typing comfort and durability, something that was particularly appreciated by users who spent hours programming or gaming. This hardware improvement, combined with the machine’s affordable price, reinforced its appeal as a versatile home computer. Its simplicity and low price made it possible for families to purchase a computer at a time when many alternatives were prohibitively expensive, reinforcing Sinclair’s mission to democratize computing. Critics pointed out the Spectrum+’s limitations, such as its modest sound capabilities, limited graphics resolution, and occasional memory limitations. However, these shortcomings became part of its appeal and inspired programmers to innovate and overcome the device’s limitations. The Spectrum became a symbol, as it was a computer where creativity replaced computing power. Its influence extended beyond the computer market and shaped the early careers of developers who later worked in Britain’s booming video game industry.

Here is a list of some popular games on the device:

Atic Atac

Avenger

Bomb Jack

Chuckie Egg

Commando

Daley Thompson’s Supertest

Dizzy

Elite

Ghouls ‘n Ghosts

Gremlins

Impossible Mission

Jet Set Willy

Jetpac

Knight Lore

Manic Miner

Paperboy

Pssst!

Rambo

RoboCop

Sabre Wulf

Tetris

The Great Escape

The Hobbit

The way of the Exploding fist

Underwurlde

Winter Games

World Games

Zool

The missed opportunity

The Sinclair QL (Quantum Leap) was a computer developed and marketed by Sinclair Research, a company founded by British entrepreneur Sir Clive Sinclair, and released in 1984. The Sinclair QL differed significantly from the company’s popular ZX Spectrum; it was aimed at more serious users, such as small businesses and technically oriented hobbyists. Although the QL was technically innovative, it suffered from a number of problems that limited its commercial success.

Sinclair Research had achieved enormous success in the early 1980s with the ZX Spectrum, a low-cost home computer. Inspired by the commercial success of the Spectrum, Clive Sinclair decided to expand his company’s product line and target a broader market, particularly small businesses and advanced users. The Sinclair QL was unveiled in January 1984. Its name, Quantum Leap, reflected the company’s ambition to make a huge leap forward in the computer market. The rush to launch resulted in a half-finished product, which led to problems. The Sinclair QL was manufactured in the UK. Inexpensive components were used in the design to keep costs down, which was Sinclair Research’s strategy. This was evident in both the technical choices made for the computer and its plastic casing. The goal was to sell the device for less than £400, which was significantly less than competing computers. The Sinclair QL incorporated many advanced technologies of the time that made it a competitive computer, such as the Motorola 68008 processor, which was a cheaper and lighter version of the Motorola 68000 processor. The processor ran at a clock speed of 7.5 MHz. It came standard with 128 kilobytes of RAM, which could be expanded to up to 640 kilobytes. The storage medium was a Microdrive, which used fast but unfortunately unreliable tape cassettes for data storage. QL supported two video modes: either a 256 × 256 pixel graphics mode with 8 colors, or a more limited 512 × 256 pixel mode for word processing. The operating system was QDOS, Sinclair’s own operating system.

Sales figures for the Sinclair QL were disappointing, especially when compared to the company’s previous successful products. It is estimated that between 150,000 and 200,000 units were sold during its lifetime. This was significantly less than the sales figures for the Commodore 64 or ZX Spectrum, for example, which sold in the millions. The QL was most popular in the UK, which was Sinclair Research’s home market. Elsewhere in Europe, the device received a mixed reception, and in the US, the QL failed to gain a foothold, as the market there was already strongly dominated by the Apple II and IBM PC. At the time of its release, the Sinclair QL cost around £399 in the UK, which was significantly less than most other 16/32-bit computers. However, the price was still too high for many home users, who preferred cheaper home computers. In Finland, the price of the device settled at around 5,000–6,000 marks. The Sinclair QL was an ambitious but unfinished product that attempted to fill two market niches – the business sector and the hobbyist market – without fully succeeding in either. Although it did not achieve great commercial success, its memory lives on strongly among hobbyists. The Sinclair QL has been featured in various computer exhibitions, such as I love 8-bit®, which showcases the history of computers and consoles from the 1980s. The QL’s unique history and technical innovations have made it an interesting collector’s item.

 

Sinclair ZX Spectrum +3
The Final Chapter with a Touch of James Bond

By the end of the 1980s, Sinclair Research had established the ZX Spectrum as the cornerstone of the home computer market in the UK and parts of Europe. Its affordable price and versatile software library had made it a cultural icon. In 1987, Sinclair introduced the ZX Spectrum +3, the last official model in the Spectrum series, which marked both the evolution of the platform and an attempt to appeal to a broader and more demanding customer base. Its graphics capabilities remained consistent with the Spectrum family, offering 256×192 pixels and a 15-color palette, but the machine’s expanded memory allowed for more sophisticated software. This made the +3 an attractive option for previous Spectrum owners looking to upgrade within the product family.

One of the most notable features of the ZX Spectrum +3 was its marketing. Sinclair sought to improve the device’s image by linking it to popular culture and glamour, most notably with a James Bond-themed advertising campaign. The marketing campaign linked the Spectrum +3 to the sophistication and excitement of the Bond series by presenting the computer as stylish and advanced. The advertisements presented the +3 not only as a tool for enthusiasts, but also as a sophisticated home computer suitable for both serious data processing and entertainment, with the aim of capturing the imagination of teenagers and families. This approach reflected Sinclair’s recognition that the home computer market was maturing and that consumers were increasingly interested in machines that combined technical expertise with attractive looks.

Gaming on the +3 remained a major attraction. The device was compatible with most of the existing Spectrum software library, ensuring that classic games such as Manic Miner, Jet Set Willy, and Sabre Wulf could still be played. In addition, the +3’s disk drive enabled the development of new and improved games that took advantage of the additional memory and storage capacity. Gamers and computer enthusiasts appreciated the combination of backward compatibility and forward-looking design, which meant they could enjoy their old favorites while also exploring new software that took advantage of the platform’s capabilities. In addition to entertainment, the ZX Spectrum +3 was also suitable for productivity and educational applications. The fast storage provided by the disk drive allowed users to use word processors, spreadsheets, and programming environments more efficiently than on tape-based systems. The machine’s BASIC interpreter remained a core feature, allowing novice programmers to experiment with code, create software, and learn basic computer skills. The software was easier to manage and use thanks to the reliability of the diskettes, which reinforced the Spectrum’s long-term role in promoting computer skills among students and hobbyists. Critics of the +3 pointed out that, although it was an improvement on previous models, some limitations of the Spectrum architecture remained. The graphics and sound were still modest compared to the 16-bit machines of the time, such as the Amiga or Atari ST. The Z80 processor was unable to compete with the more powerful computers that entered the market in the late 1980s. Nevertheless, the +3 was praised for its thoughtful improvements, particularly the built-in disk drive and redesigned keyboard, which addressed the two most significant complaints users had about previous models. Its James Bond-themed marketing also set it apart from its competitors by combining technical improvements with cultural appeal, creating a machine that felt modern, ambitious, and fun.

The Spectrum +3 was well received by both enthusiasts and new users. Gamers and software developers in particular appreciated the device’s compatibility with earlier Spectrum models. Its expanded memory and improved storage solutions were praised. The combination of entertainment, programming possibilities, and practical applications made the +3 a versatile and improved platform, even though more powerful 16-bit machines were entering the market. Its marketing, which linked the product to the glamour of James Bond, improved its image in a humorous way. Ultimately, the ZX Spectrum +3 represents the final evolution of Sinclair’s popular 8-bit platform. It combined the appeal of the original Spectrum with significant improvements, such as disk-based storage and a more comfortable keyboard, while adopting a marketing strategy that linked the technology to popular culture. By integrating these features, Sinclair succeeded in creating a machine that honored the legacy of the ZX Spectrum family, appealed to both dedicated fans and new users, and proved that even at the end of an era, the Spectrum could remain relevant, innovative, and exciting. The +3 is further proof of Sinclair’s ability to develop the Spectrum further, and it also demonstrated the faith that its manufacturer, Amstrad, had in the Spectrum product family.

 

A misstep in the
Home Computer Market by Commodore

The history of personal computing in the 1980s is filled with both groundbreaking successes and notable miscalculations. One of the more fascinating case studies in this regard is the Commodore +4, a machine that attempted to bridge the gap between home and business computing but ultimately struggled to find a lasting place in the market. Although remembered as part of the broader Commodore 264 series, the +4 is significant in its own right as a product of both high ambition and flawed execution. The Commodore +4 was officially introduced at the 1984 Summer Consumer Electronics Show (CES)in Chicago. Commodore announced it as the centerpiece of the new 264 series, which also included the Commodore 16 and Commodore 116. The “+4” name referred directly to one of its most publicized selling points: four built-in productivity applications. These were a word processor, a spreadsheet, a database, and a simple graphics program. Commodore envisioned this as a way to appeal not only to the home market but also to small businesses and budget-conscious professionals. At launch, the Commodore +4 carried a price tag of around \$299 USD, which was lower than the Apple IIe or IBM PC Jr. but higher than the extremely successful Commodore 64, which was available at under \$200 by late 1984 due to aggressive price wars. Commodore hoped to position the +4 as a middle ground: inexpensive compared to business machines, but more productivity-focused than purely entertainment-oriented home computers.

There were not much room for Commodre +4 model since the Commodore 64 already dominated the home computer markets with a large and rapidly growing software library. The Apple II entrenched in education and small business environments. The Sinclair ZX Spectrum, especially in Europe, which delivered cheap home entertainment. The Amstrad CPC series offered an affordable all-in-one design in Europe with a growing software ecosystem. Against such competition, the +4 was caught in an awkward position. Yes, the Commodore +4 was not imported officially into Finland. In fact, the entire 264 series saw just few releases in several Nordic countries. However, much like in other markets, its reception was lukewarm. Finnish users, like those elsewhere, gravitated more toward the Commodore 64 and later the Amiga, leaving the 264-series including Commodore +4 as a curiosity rather than a mainstream success.

The Commodore +4 contained several unique features, both positive and problematic. There was a built-in office Suite in +4. There were four applications (word processor, spreadsheet, database, and graphics) were meant to provide immediate utility out of the box. Unfortunately, they were underpowered and could not rival dedicated software available on other platforms. The processor was MOS Technology 7501 CPU that was a variant of the 6502. It was clocked at 1.76 MHz, delivering slightly faster performance than the C64. There were improved BASIC (Commodore BASIC 3.5) that offered advanced commands for graphics and sound programming, making it easier to exploit hardware features. Sound was maybe the greatest weakness of Commodore +4. Instead of the celebrated SID chip in the C64, the +4 relied on a simple two-voice sound generator, widely criticized as inadequate for gaming. This was done to reach cost efficiency manufacturing process, because Commodore wanted compete particularly against Japanese manufacturers. Despite its limited popularity and modest sound chip, the +4 did attract a modest library of games. Most were adaptations of titles that existed on the C64 or Spectrum. The most consistent supporters of the platform were Kingsoft, Mastertronic, and Commodore’s own publishing arm, but overall, the +4’s software catalog was shallow compared to its competitors.

Exact sales figures are debated, but estimates suggest the Commodore +4 sold fewer than one million units worldwide, compared to the 17 million units of the Commodore 64. While the +4 saw some traction in parts of Eastern Europe (particularly Hungary, where local developers embraced it for educational and hobbyist purposes), in Western markets it was largely regarded as a commercial failure. Contemporary reviews of the +4 were mixed to negative. Technology magazines praised its affordable price and noted that the improved BASIC was easier to use for beginners than the older Commodore 64’s version. However, they also emphasized its glaring weaknesses like incompatibility with the Commodore 64. That was perhaps the most criticized flaw. Given the C64’s enormous software base, the lack of backward compatibility meant the +4 started with a near-empty library. Reviewers repeatedly noted the downgrade from the SID chip to the rudimentary two-voice sound. Marketed as a selling point, the “+4” office suite was widely dismissed as too limited for serious business use. Magazines described the machine as “a solution in search of a problem,” and many journalists speculated that it existed primarily because Commodore’s new management wanted to distance itself from Jack Tramiel’s product vision after his departure.

The Commodore +4 represents a bold but flawed experiment in the home computer era. Introduced in 1984 at the Chicago CES, it was positioned as a productivity-oriented but low-cost alternative to both business machines and game-focused home computers. Its built-in office suite, colorful graphics, and enhanced BASIC were notable innovations, but these were overshadowed by its lack of C64 compatibility, weak sound hardware, and insufficient software library. Although it sold fewer than one million units and was quickly eclipsed by the continuing success of the Commodore 64 and the rise of the Amiga, the +4 remains a fascinating artifact. It illustrates both Commodore’s ambitions to dominate every tier of the computing market and the risks of misjudging consumer expectations. Today, the +4 is remembered less for its commercial success and more as a symbol of the volatile and experimental nature of the 1980s microcomputer boom.