Traditional Approach with Radial EXTC

Channel Strip

Monitoring with Mixer

Live Recording with Monitor

Elaborate Accoustic Preamp

Summing outside the box

Workhorse™ Using & Applications

The workhorse is a modular device in the full sense of the word. As such, the possibilities are truly unlimited. You can route signals to and from individual modules, split them to send signals to other devices, introduce effects, and then mix the signal back together using the master section. The scope is broad and as you get familiar with the Workhorse, your creativity will take over and you will find yourself in places you never thought possible.

This 'short form' user's guide is basically an introduction to using the Workhorse and is intended for those that are experienced with the world of 500 series modules. It discusses how to approach the Workhorse in broad terms. We invite you to download the full Workhorse manual (PDF) where complete details on the functionality, feature set and applications are explained. For your own safety, please read the disclaimers and safety notices before using the Workhorse.

Traditional Approach
In the simplest form, the Workhorse provides power to eight modules. Following the traditional approach, you can connect to and from each module using standard XLR or ¼" TRS patch cables. A typical application could be applying analog compression to a stereo drum feed during mix down using two Komit compressors and send the direct feed back to the recording system.

Once the signal is inside a module, the Workhorse further opens options by providing tons of rear panel connectivity. For instance, you could feed the same stereo drum track into the recorder and use the 1/4" TRS connectors to 'mult' the signal to the EXTC where you could then add some grit to the tone using a Tonebone Classic tube overdrive.

The Workhorse Advantage
Where the Workhorse differs from older API type racks is that it incorporates a mixer into the design. This does not inhibit the use of traditional connectors – it adds even more creative options. And because the Workhorse has been augmented with functions such as a FEED switch, patching is greatly simplified.

For instance, say we want to set up a customized microphone channel strip that incorporates a mic preamp, EQ and compressor. In the past, one would plug in the three modules and then connect each one in series using an XLR cable. With the Workhorse, you simply use the FEED switches to do the patching.

You could then patch the instrument track stereo feed into the Workhorse via the summing input on channels 7 and 8, route the vocal track into the mixer via channel 3 and monitor everything in real time using the headphone outputs.

Using the Workhorse Live
The Workhorse is not only for the studio. It can easily be adapted for live use in many different ways. For instance recording a live band: the Workhorse can be outfitted with eight PowerPres to capture the sound right from the stage microphones. The individual XLR outputs can then be split to the PA system while the 25-pin D-Subs can be used to feed a recorder. The Workhorse's built-in mixer opens up more possibilities by allowing the engineer to record a stereo mix of the concert while monitoring via the headphones.

The workhorse can also be used on stage. For example, you could setup an elaborate acoustic guitar or upright bass preamp to finally deliver a great sound. Start by connecting the instrument mounted microphone to a PowerPre which is turn would feed an EQ and a compressor. The piezo pickup would connect to a Radial JDV which would also feed and EQ and compressor. We would then add a Phazer to the second stem which would allow us to time-align the two sources. Phase aligning the fundamentals delivers amazing realism. Outputs from modules 3 and 7 would be mixed together. Mains would feed the PA system and monitor would feed the on-stage amp.

Summing with the Workhorse
The Workhorse built-in mixer can be used in many ways. It can be used as a return path for program material when overdubbing; as a mixer to combine the sounds generated from various modules; or as a stand-alone analogue summing mixer for those that prefer to mix 'outside the box' (i.e.: Not in computer - in the analogue domain).

This is done using a 25-pin D-Sub cable connected to the 8 channel D-sub input on the rear panel. This ProTools/Tascam compatible input will accept balanced or unbalanced signals. The signal is first unbalanced before it feeds the Workhorse's internal buss where it then can be mixed using the front panel controls.

This of course is only a small sampling of the many setups that can be created using the Workhorse. The Workhorse Manual goes into greater detail and delves into all kinds of other examples that will surely get your creative juices flowing.