John Linnell

In the 33 1/3 publication They Might Be Giants' Flood, John Linnell reports that he and Flansburgh each acquired a Casio FZ-1 for the writing and recording sessions for that album.

"We recently moved over to a lot of software — samplers and synths — from unreliable hardware. We have [Mac] G5s."

"Around the time we were making our second album, Lincoln, I bought a used Mac Plus. It probably had about one meg of memory. I had that little TV set-shaped thing on my desk for a number of years. We used that and some really simple keyboards for sequencing."

"Lincoln to me doesn’t seem like that big of leap from the first album. When we had to write another album, we obviously didn’t have, like, five years to write Lincoln. So it seems we were really quick in writing songs back then. We had more of a plan. We bought the Alesis HR-16 —"

The vintage keys synth module is included in the stack of rackmount equipment

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).

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).

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).

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).

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).

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).

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).

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).

Photo of John Linnell playing an Arturia Keylab 88 MkII.

John Linnell plays a Roland Fantom X8 with a Radial JD6 6-channel rackmount direct box underneath. He also plays a bass clarinet miked with a Sennheiser 908 and G3 wireless system.

"If it weren't for the unfortunate fact that I found out installing third-party chips in the [E-mu] Proteus 2000 does something completely weird to them that more or less makes them unreliable onstage after a couple of years. I never figured out why, but I had a bunch of Proteus 2000s, and I burned sample chips and started using those. A few years into that, it completely ruined the reliability of them as live instruments. As soon as they started to warm up, the pitch would get crazy. So in frustration, I finally just completely changed my setup, and now I'm in the Roland world.

[Previously,] I used the [Roland] A-30 as the controller, and the sound sources were the Proteus 2000s with a lot of third-party stuff, including especially my own samples. You could burn your chip using flash ROM thing that you could burn in a E-mu sampler."

In a 1996 interview with Music & Computers, John Linnell stated, "That's actually an old favorite of mine—it's the four-operator version of the Yamaha DX7, the TX81Z. That was a single-rack thing with some really cheesy sounds. It does sound like a Farfisa [electric organ], though. I used to own one of those but it died." He mentioned that this synthesizer was used on the track "Twisting."

John Linnell uses the Tascam DA-88 Digital Recorder, as confirmed in the article "Giant Step-Time—Computers in the Life of They Might Be Giants" from the They Might Be Giants Knowledge Base. The article notes, "In fact we both have TAS-CAM DA-88s now. It's like the [Alesis] ADAT machine, but we think it's a better product."

John Linnell, a member of They Might Be Giants, uses an Akai S2000 audio sampler. This information is corroborated by a quote from a 1996 interview in the "Giant Step-Time—Computers in the Life of They Might Be Giants" article on TMBW: The They Might Be Giants Knowledge Base, where it is stated: "We have an endless pile of MIDI gear... I just got an Akai S2000, which is the same thing but with more memory. They sound great, just fantastic."

"I've got a PowerBook 145B that I've been bringing into the studio and sequencing with a very minimal setup. It's actually kind of appealing--in my little bag I can carry the PowerBook and this Yamaha MU5 [General MIDI module]. They're really great, and it works as an interface too, so I can bring that along and I've got the whole setup. That and this little Opcode Time Code Machine, just about half the size of a videocassette. It takes SMPTE and turns it into MIDI code. It's what I use at home, too: I just bring it with me."