
Macintosh Classic
Most sequences written on Ensoniq EPS were transferred to a Macintosh Classic for recording sessions. This machine was sold in the early 1990s.
- Class
- Hardware
- Dated
- In service 1988–1990
Fourth single released from the declassified archive. Originally written in 1988 on Atari 1040ST before further development on Macintosh Classic.

The subtle fascination
Oh, but fascination fades
Memories of everything
Where truly what you gave
When did start
How did it end
Why even think
What could have been
Who thought my heart would ever mend
It seems there’s someone new in you
Conviction mends yet tears in two
Don’t think that
Don’t think that
Don’t think that I don’t care
Don’t think that
Don’t think that
Don’t think that I won’t be there
Don’t think that
Don’t think that
Don’t think that I don’t care
Don’t think that
Conviction mends yet tears in two
A simple moment
Stolen one time
The moments never last
Everything that came too soon
Left nothing, nothing
Built to last
When did start
How did it end
Why even think
What could have been
Who thought my heart would ever mend
It seems there’s someone new in you
Conviction mends yet tears in two
Don’t think that
Don’t think that
Don’t think that I don’t care
Don’t think that
Don’t think that
Don’t think that I won’t be there
Don’t think that
Don’t think that
Don’t think that I don’t care
Don’t think that
Who thought my heart would ever mend
Who do we praise
Who do we blame
Who really cares
It’s all the same
Don’t think that
Don’t think that
Don’t think that I don’t care
Don’t think that
Don’t think that
Don’t think that I won’t be there
Don’t think that
Don’t think that
Don’t think that I don’t care
Don’t think that
Conviction mends yet tears in two
Don’t think that
Don’t think that
Don’t think that
Don’t think that
Don’t think that
Don’t think that
Don’t think that
Who thought my heart would ever mend
I wrote Everything and Nothing on my Atari 1040 ST before owning a Macintosh or the Ensoniq EPS, with its built-in sequencer. I'd been writing songs with verses and choruses that used different chord progressions for each. I'd realized many of my favorite songs had the same bassline for both verse and chorus, and took on that challenge. Changing the melodies over the basslines produced changed energy in the song while it remained simpler in structure.
An interesting lyrical footnote: the original second verse in 1989 was "The lipstick on the mirror. The heartache on the floor. Everything that came to pass, left nothing. Left nothing to adore".
Released as a digital single on 21 August 2026.
Captured in one take from the original hardware chain after a final sequencer-file parity check.
| Catalogue no. | DMP-T04 |
|---|---|
| Track | 4 of 8 |
| Written | 1988 |
| Runtime | 3:10 |
| Tempo | 122 BPM |
| Key | A minor |
| Original Sequence | MOTU Digital Performer — 20 tracks |
| Source | Logic Pro X 2026 Master |
| Status | Recovered · complete |
| Unit 1 | Atari 1040ST |
|---|---|
| Unit 2 | Macintosh Classic with MOTU Digital Performer |
| Unit 3 | Ensoniq EPS |
| Unit 4 | Ensoniq ESQ-1M |

Most sequences written on Ensoniq EPS were transferred to a Macintosh Classic for recording sessions. This machine was sold in the early 1990s.

Every melodic and percussive sound in the archive originated here.