Used for Lord of the Harvest and Bucketheadland, as discussed in this 2014 TASCAM article.

You've been a TASCAM user since the beginning.

Yeah, for me and I would think a lot of us musicians, the TASCAM Portastudio [Model 144 - 1979] was our first introduction to having 4 good analog tracks to record your ideas too. It even got to the point that sometimes when you recorded on this machine it actually wound up on the 2 inch recording of the real record, simply because the performance you did on the 4 track was more authentic and felt better than when you had a chance to practice it and get good. But then you loose the passion and drive that you had in that moment with the 4 track. I loved this machine. Then the 8 track came out sometime in either the late 80's or early 90's, I recorded the whole album of "The Zillatron" and "Bucketheadland" on my then new 688 MidiStudio [1989] with MIDI and sync code. It was truly awesome. Then the DA-88's came out [1993], I made sure I had 24 tracks because I felt like this is going to be my core of recording at my home studio. Being replayed by its big brother the 24-bit DA-78HR. It’s what I have now as back ups for my TASCAM X-48, which works flawlessly with Pro Tools, and any of my other gear. I also have the TASCAM DM-4800 digital board. When TASCAM made their first DAT machines, you'd better believe that I had one and then the next newest one. Now I got the DV-RA1000 DVD Recorder which is amazing. I carry my new DP-008, which is the digital 8 track portable recorder. I have the new DR-05 stereo mic recorder for recording rehearsals and things on the fly.

As you can see, TASCAM gear has been a key for me. Just so you know, all of my old TASCAM gear I still got and it all sits at the ready when and if I need them. That should tell you something about my gear and how it was built to last, they all still work. The people at TASCAM customer support was always there for me and I stayed up on keeping my equipment ready to rock-funk & roll because you never know when that creative bug jumps on you. When you hear the horn blow, you'd better be ready to go your nearest TASCAM dealer and say, Bootsy said y'all can help funk me up!

The heart of Linnell’s system is an Apple Macintosh IIci (1) running MOTU’s Performer sequencer and Mosaic notator (for horn arrangements), connected to an Opcode Studio Plus Two MIDI interface (2) and Timecode Machine sync box (3). A Cutting Edge hard disk (4) alongside Linnell’s Music Mart accordion (5) doubles as a pedestal for a Bundy bass clarinet (6) — which is not to ignore his prized Buescher bass sax (7). A Yamaha MJC8 (8) distributes MIDI to his E-mu Proteus FX (9) (“this is what I’m using live now”) and Vintage Keys (10), Roland R-8M percussion module (11) and U-220 (12), plus a Casio VZ-10M (13) bought in a closeout sale. “It’s the end of the legendary CZ line,” he laments. “It’s got some weird, cheap sounds you can’t get any other way.” An Akai S1000KB sampler (14) also serves as a master MIDI keyboard. When he’s in a picking mood, Linnell picks up a Gibson SG from the early ‘60s (15). A Boss TU-12H (16) helps keep it in tune.

The instruments, plus a Sennheiser 421 mike (17), feed a Tascam 688 eight-track cassette deck (18). “It has all these line inputs,” Linnell points out. “I can mix all my sequenced tracks and still have seven tape tracks for bass clarinet.” For effects, he uses a Urei 7110 compressor/limiter, Lexicon PCM42 delay (19). Yamaha SPX90II multieffect unit (20) and Korg DRV-1000 reverb (21). He mixes to a Sony TC-WR690 cassette deck (22) and Panasonic SV-3700 DAT (23), amplified by a Hafler PRO2400 (24) and Design Acoustics PS-10 speakers (25).