https://www.sproutology.co.uk/exposition/megahertz/ wrote:A title track twenty two minutes long – as long as it’s possible to get into an Atari ST midi sequencer – with no hooks, and an American female voice floating soft words across a looping backdrop of gentle ambient music.
this references the limit of Notator on a 1MB machine
https://www.sproutology.co.uk/interviews/tell-the-stars-im-coming-sony-press-release-november-8th-2018/ wrote:…One spring morning in ’99 just for the hell of it, I entered a few random notes into the sequencer of my (even then) ancient Atari computer,” Paddy explains. “I recorded a couple of further layers without listening to what had gone before. By pure good luck, when I played them back they formed a few chords that filled me with a strange sort of nostalgia for something I couldn’t name or get close to. At some point a picture started to form. That’s how ‘Megahertz’ started.”
another choice quote, not specific to this album but shows his continued love of the Atari ST
http://www.songwritingmagazine.co.uk/interviews/sodajerker-presents-paddy-mcaloon/15532 wrote:You play all the parts on the record, don’t you?
“I play them, or I programme them. With the guitar parts, it’s unbelievably tedious trying to programme a strummed guitar sound, but for some reason I’ve got into the habit of doing that. I used an old Atari sequencer and I’ll write in by hand every note of a chord, and then try and make it sound strummed. And I’ll think, why am I doing this? Why not just put it on tape? But I like to hear all the music coming at me at once out of the sequencer… and then I’ll replace the part.
“It gives me a sense of orchestration, because that’s what I like in music. I don’t just want to hear a voice and a few chords, in general I like to hear something else, something you can latch onto.”
and a final one
https://www.soundonsound.com/people/prefab-sprout wrote:The (last) Prefab Sprout album, Crimson/Red, is a characteristically lush record, brimming with lovely, artful songs, recorded at McAloon’s home in County Durham. Fascinatingly, the singer’s working setup might have been frozen in the ’90s, centred as it is around an Atari STE 1040 running C–Lab Creator–Notator and an array of outboard sound modules (more of which later). His recorded results were subsequently tidied up and mixed by Calum Malcolm (the Blue Nile, Simple Minds). “I wish I was more hi–tech,” says McAloon. “Sometimes I do ache to make a beautiful–sounding Steely Dan–style record like in the old days. But it’s not everything. So I kind of cut my cloth accordingly.”