System Overview

Saving Final Audio

Reservations and On Demand

  • You can make reservations using a credit card or credits.
  • Your reserved equipment will show as “Reserved” in the plugin at the beginning of the reservation.
  • If you have purchased credits, your credit balance will be reflected in the plugin (v5.3.0+).
  • If you have at least 1 credit in your account, you can use the equipment “on demand”.  No reservation is required.  Simply open the plugin and immediately insert any available equipment into your chain.
  • All “on demand” users will get a free 45 second preview of any equipment.  If you remove the equipment before the 45 second preview ends, your credit balance will not be reduced.
  • The preview counter will reset if you do not use the equipment for 10 minutes.
  • After the preview, your credits will be used at a rate equivalent to the hourly rental rate for the equipment.  For example, a credit will be deducted from your account every 7.9 minutes for the Silver Bullet.  The rate for each hardware unit is shown when hovering the mouse over the equipment in the left panel of the plugin.
  • The preview timer and the duration for each credit spent will be reflected in the “remaining” timer at the top left of the equipment user interface.  Essentially, this timer tells you when your next credit will be deducted.
  • You can continue to use the equipment on demand as long as you have credits and there is no reservation from another user.
  • Reservations are prioritized.  If you are using equipment on demand and another user’s reservation begins, the equipment will be removed from your chain.  Upcoming reservations are shown when hovering the mouse over the equipment in the left panel of the plugin.
  • There is a seamless transition from on demand use to reservation, and vice versa.  If you are using on demand and then your own reservation starts, you will transition from on demand to reservation without interruption.  Naturally, your credit balance is not deducted during your reservation since it is prepaid.  Similarly, if you continue using the equipment after your reservation, you will seamlessly transition to on demand use.
  • Free equipment will be available on demand for credit owners.  Free equipment can be used for up to 1 hour, at which point it will be removed from your chain.
  • Your credit balance is shown at the bottom right corner of the plugin
  • The amount of time until your next credit is deducted is shown at the top left of the equipment panel.  When you first drag the equipment into the rack, this shows the 45 second preview counter.

Plugin Interface

There are six main sections of the interface:

  1. Top Panel
  2. Sidebar
  3. Routing Panel
  4. Equipment
  5. Offline Processor
  6. Settings

Top Panel


The top panel contains overall controls and utilities for enabling the connection to the server.

  1. The email and password are the website account credentials.
  2. The server menu shows the list of available servers in the cloud.  Choose the server that corresponds to the equipment that you reserved on the website.  Currently there is only one Access Analog server.
  3. The connect/disconnect button is used to establish the connection with the server once the email and password are entered. When not connected, the plugin will pass through audio unaltered. When connected, the audio will stream to the server. You may connect to the server at any time and stream unprocessed audio, even without a reservation.
  4. The buffer setting can be used to increase the sample buffers if dropouts become recurring or frequent. See the Buffering/Latency tab on this website for more information. Higher buffer values have a better chance of reducing buffer underflows, but they cause more latency between adjusting a front panel setting and subsequently hearing that change.  This latency is approximately half of the total buffer size value.
  5. The transmit format is used to set the format that will be used for the bi-directional audio stream across the internet. The uncompressed formats require a more stable connection between the client computer and the server. The compressed formats can be used if connection quality is limited.  See the separate tab on Format for more information.
  6. The buffer graph displays the size over time of the sample buffers used to handle internet disruptions.  The client and server buffers are overlayed on top of each other and a solid orange color indicates both have samples and audio should be streaming.  See the Buffering/Latency tab for more details.
  7. The mix knob is used to mix the dry audio passing through the plugin, with the resulting wet audio that has been processed in the hardware rack.

Side Panel

The sidebar on the left side of the plugin lists all of the equipment located at the server to which you are connected.  After connecting to the server with the proper credentials in the top panel, this list will show all of the equipment that is located at that server.  Each piece of hardware can be in one of five states:

  1.  Unavailable – the equipment is currently in use by another user, or it has been taken offline for repair and maintenance.
  2. Available – the equipment is not in use and available to reserve or use on demand if you have more than 1 credit.  Dragging the hardware into the routing panel will start an on demand use after a 45 second preview, and your credits will be deducted accordingly after that at a rate that is equivalent to the hourly reservation rate.
  3. Reserved – the equipment is currently reserved for you and available to be used in the routing panel.  Your credits will not be reduced when using reserved equipment since it has already been purchased on the website.
  4. In Rack – the equipment is currently being actively used by you in the routing panel or in another instance of the plugin.
  5. Update Plugin – the equipment was added to the service after your version of the plugin was released.  Go to the Downloads page on the website and install the latest plugin.

You can hover the mouse over any equipment and a tooltip that shows the rate at which credits will be deducted when using the equipment in on demand mode.  It will also show any upcoming reservations for the equipment so that you can plan your on demand use.

Routing Panel


The routing panel is used to show the path of mono and stereo audio through the system, build analog chains with multiple pieces of equipment, and select equipment so that you can use the front panel in the equipment section.  The source audio coming into the plugin is represented on the left side of the panel.  The left audio channel is the top row and the right audio channel is the bottom row.

  1. The first piece of equipment of your analog chain is inserted into the left column of the panel by dragging your reserved equipment from the sidebar.  Dragging equipment to subsequent columns to the right will insert them later in the analog chain and audio will flow through them in series from left to right.  Clicking on an equipment name will highlight it and show the corresponding equipment faceplate in the equipment panel so that you can adjust the controls.  A stereo device will occupy both the left and right boxes of a column.
  2. Mono pieces can be inserted on either the left or right audio channel.  When two mono pieces are inserted in the same column, they are in a “dual mono” configuration where the left audio goes through one device and the right audio goes through the second device.
  3. If both pieces of equipment are the same model, they can be linked with the link button.  When linked, control changes to the device on the left channel (using the equipment panel described later) will be duplicated to the box on the right.  When linked, control changes to the box on the right channel can be adjusted independently of the left channel to compensate for minor hardware differences between the two devices.
  4.  A gain slider is provided for each box in the analog chain.  This gain adjusts the level of the signal being sent to the box.  A mix knob is also provided to mix the signal from the box with a dry signal that bypasses that box.
  5. The “In” button gives the ability to easily insert and remove a box from the audio path while audio is playing.  Similarly, the solo button will insert the box into the audio path while removing all other boxes.
  6. The final gain slider adjusts the level of the signal after the last box in the analog chain and just after the final A/D conversion.  This effectively adjusts the output of the plugin and will always be the last slider on the right, regardless of the number of boxes in the chain.
  7. Meters (0 dBFS) show the RMS signal level at all stages of the audio path.  If a sample reaches full scale, the clip indicator will light.  Click on the meter to clear the clip indication.  The clipping is handled by the A/D converter and can sometimes be desirable at moderate levels depending on your specific application.

Equipment can be removed from the chain by clicking the ‘x’ to the top right of the equipment name.  Any columns that are empty will simply pass through audio unchanged.  You can drag and drop equipment from one box to another inside the equipment panel in real time with audio playing to compare different analog chain equipment sequences with ease.  Devices will swap positions or move to new points in the analog chain and the hardware will immediately be re-routed at the server to reflect the new configuration.

Equipment Panel


The equipment panel shows the likeness of the equipment currently highlighted in the routing panel.

  1. If you currently have the equipment reserved, the remaining time shows the time left in the current reservation that you made on the website.  If you are using the equipment on demand, the remaining time shows the time until the next credit is deducted.
  2. The title shows the equipment name which indicates the model and instance.  If there is more than one device of a particular model at the server, they are numbered #1, #2, etc.
  3. The preset menu contains a list of factory presets for the device, followed by user presets.  Add a user preset by setting the controls of the front panel as desired, then click the ‘+’ button and name the preset.  User presets can be removed by selected them and then clicking the ‘-‘ button.
  4. The equipment controls occupy the main area of the window.  These control the robotics at the server.  Use the equipment manual online (links on our equipment page) if you want to dive deep and understand how these controls work.

Offline Processor

The offline processor is located at the bottom of the plugin and can be used to capture a clip of audio locally at the plugin, upload it to the server, process it at the server, and collect the full  resolution 24 bit samples back at the plugin.  The final processed audio sample rate is selected in the menu at the left of the processor.  The nature of this process makes it unaffected by internet interruptions.  This method can be used on any internet connection to safely capture the final processed audio for your reservation.  The real time streaming format at the top of the plugin does not affect offline processing, which is always processed at the user selected sample rate in lossless 24 bit sample format.  To process audio in your DAW, you can follow this sequence of steps:

  1. Start with playback idle and locate your DAW play head at the start of the audio you want to process.
  2. Select the desired sample rate of the final processed wav file using the selection on the left (1).
  3. Setup the active rack with the hardware you want to use.  Use it in real time as many times as you want to dial in the settings.  Do not worry if you use a compressed audio format during this time, the final audio will be full resolution as noted above.
  4. The arm button (2) is used to arm the processor to record audio, so click that next.
  5. Start playback in your DAW.  The offline processor will begin uploading the audio to the server.
  6. When you get to the end of the audio you want to process, stop playback.  The processor will finish uploading and you will see a representation of your unprocessed audio in the window, now stored at the server.
  7. If everything looks right, click process (3) to send the audio to the server for processing, or click cancel (3) and return to step 1.  When you click process, the offline processing interface will display “Processing…”.   The server will begin sending the audio through the hardware and the processed samples will be collected back at the plugin at the sample rate you specified.  During this processing time you can continue working locally, and the plugin will simply pass through the local audio unchanged, because the server is busy processing your stored audio.
  8. Once the server finishes processing, the interface will display the audio and the “Processing…” message will go away.
  9. At this point you can click save (4) to save the processed audio to a wav file at the sample rate you specified, and it can be subsequently imported into your DAW.  Alternately you can click cancel (3) to return to step 1.

If you have a wav file outside of your DAW that you want to process, you can follow a similar procedure to process it.  Instead of arming the processor, you use the load button to load the wav file into the plugin which immediately beings uploading the audio.  Then proceed with the process button as described above.

If you have more than one wav file to process with the same hardware at the same settings (like all stems in a project), then you can use the batch button:

Choose the output directory for the processed files at the top of the window.  Processed filenames will be appended with “-aa” and can coexist with the unprocessed files.  Use the add button to add one or more wav files to the list.  When you click process, each wav file will be uploaded to the server, processed, and saved as a new wav file with the “-aa” extension.  Each wav file will go through the offline processing sequence described above.  During this time, you can close the plugin window and work on other things.


  1. Check this box to show or hide the equipment thumbnails in the sidebar.
  2. This checkbox can be used to automatically process audio after uploading when using the offline processor.  When this is enabled, there is no need to click the process button once audio has finished uploading.  Instead, processing at the server will automatically begin.
  3. This checkbox can override the address of the server.  This is reserved for future use and should not be checked under normal opration.
  4. This checkbox can turn on some debug logging for the plugin.  Use this to create a log file that can be emailed to technical support when issues arise.

Universal Audio 1176LN

API 5500

Black Box HG2

Louder Than Liftoff Silver Bullet

Manley Variable MU

Neve 33609N

Pultec EQP1A

SSL Fusion

Warm Audio EQPWA

System Requirements

You will need recording software that uses the AAX, VST, VST3, or AU plugin formats on either the Mac or Windows platform.

You will need a robust internet connection. In general, wifi is not ideal for streaming low latency audio completely error free, but if you have a strong signal then it is usually fine.  Since this is a professional audio application, we cannot lose even one sample of audio. So, the requirements for this streaming application are a bit more stringent than something like Netflix, which can drop a frame here or there without any noticeable effect to the application.

We transmit audio across the internet in one of the following formats, selectable by the user:

  • Lossless, 44.1 kHz, 24 bit
  • Lossless, 48 kHz, 24 bit
  • Lossless, 88.2 kHz, 24 bit
  • Lossless, 96 kHz, 24 bit
  • Lossless, 44.1 kHz, 16 bit
  • Lossless, 48 kHz, 16 bit
  • Lossless, 88.2 kHz, 16 bit
  • Lossless, 96 kHz, 16 bit
  • Compressed, 48 kHz, 512 kBit/sec
  • Compressed, 48 kHz, 256 kBit/sec
  • Compressed, 48 kHz, 128 kBit/sec

The compressed formats reduce the requirements on the internet connection but may not be desirable for professional results.  If this is the only choice for a given user internet connection, the offline processing tool is provided to allow real time system usage with the compressed audio, but the final bounce or save can be done offline at lossless, 96 kHz, 24 bit resolution.  See the user manual offline processing topic for more details.

You can measure your connection bandwidth at

Transmit Format

The system allows the user to select the audio format that will be used to transmit the data across the internet and back.  This format can be chosen to match the sample rate of the user session, or it can be adjusted to match the quality and bandwidth of the internet connection.


When the sample rate on both sides of the SRC are the same, then no conversion takes place.  Thus, when the session sample rate and transmit sample rate are the same, there is no sample rate conversion at the plugin.  Similarly, when the transmit sample rate is 96 kHz, there is no conversion at the server.

The transmit sample rate should not be set higher than the DAW session sample rate, as that would use more bandwidth and result in no benefit.

The hardware A/D converter is set to 96 kHz.

When offline bounce is used, the audio is transmitted from the plugin to the server in lossless format at the session sample rate.  The samples are converted to 96k at the server when sent to the hardware.  You can pick the sample rate of the final wav file in the offline processor.  The server converts the processed samples to this sample rate and transmits them losslessly back to the plugin.  Thus, offline bounce looks like this:



The system employs two buffers to manage the inconsistencies of the internet.  There is one buffer located at the server which receives samples from the client plugin.  There is another buffer located in the plugin that receives samples back from the server.  The user can select the entire system buffer size at the top of the plugin, between 300ms and 2500ms, and this is split between the two buffers.


Buffer Graph

The buffer graph is located at the top of the plugin.  This shows the size of both the plugin and server buffer relative to the total system buffer setting.  The two graphs are overlayed on top of each other and show the fill percentage of both buffers over time.  For best streaming, each buffer should be approximately half full, resulting in a bright orange graph that is half of the height of the graph, as shown.  If one graph is much larger than the other, you can use the reset button below the graph to clear up the issue.


Inserting the Analog Matrix plugin on the master track of a session is always possible at any buffer size setting because there are no parallel tracks to the master track and compensation is not necessary.

For individual tracks, each DAW provides plugin delay compensation.  This can be used to compensate for the Analog Matrix buffer size setting and keep the track in sync with the session.  Analog Matrix provides a selectable buffer size setting that represents the total buffer size, or delay, through the system.  Each DAW has it’s own maximum delay compensation detailed below. The Analog Matrix plugin can be used on any individual track as long as the buffer size is less than the maximum delay compensation for that DAW, and delay compensation is enabled.  If the Analog Matrix plugin requires larger buffer sizes for stable audio streaming, and the buffer size is larger than the maximum delay compensation, the track with the plugin will be out of sync with parallel tracks in the session.  If you are processing the master track, then there are no parallel tracks, and so this doesn’t affect you.

If you are processing an individual track, you can compensate for this by manually moving the audio of the track earlier in the timeline.  If delay compensation is not enabled, you would move the audio earlier by the buffer amount.  If delay compensation is enabled, you would move the audio earlier by the buffer size minus the maximum delay compensation value.


What Buffer Size Should I Use?

See the separate tab – “Buffering/Latency” – for a discussion of buffer size and delay compensation.

Do I Need An Account?

Yes, an account on this website is needed to reserve equipment or purchase credits.  Use the email and password from the website account inside the plugin to connect to the equipment rack.

What Format Should I Use?

You can first try the 24 bit format that matches the sample rate of your session.  If the streaming is intermittent, you can drop the sample rate and/or use the 16 bit format.  If the streaming is still intermittent, you should use a compressed format for real time streaming.  When you are ready to capture your processed audio, you can use of the offline processor described in the user manual to get full resolution 96 kHz audio.

How is My Digital Audio Being Delivered to Analog Hardware?

We employ real time A/D and D/A conversion at the server using a Lynx Aurora(n) converter.

Has the Analog Hardware Been Altered?

Never. We use a wide range of cutting edge robotics to control the hardware from the front panel, just like you would if you were interacting with it manually. All plugin meters reflect the physical needles and LED’s of the actual equipment.  We do not replace or change any analog component of the units.

Can I Create My Own Presets?

Yes!  Use the ‘+’ button at the top of each individual equipment panel to create presets for that piece of equipment.

Can Anyone Steal or Listen to My Audio?

Your audio is never routed anywhere on our server except through the analog unit that you are using. So, we can’t hear your audio, and it is no more vulnerable to theft than any other unencrypted data going across the internet.  Encryption increases the load on the internet connection, so we do not offer it at this time, but it could be added in the future.

Can I Put in a Request For Access Analog to Add a Specific Piece of Equipment?

Of course! We want to hear what you are interested in. Please email and let us know.

What is a Lynx Loopback Cable?

We have two loopback XLR cables connecting two outputs back into two inputs of the Lynx converter that are available for reservation at no cost.  When you reserve these and drag them into your plugin rack, you will stream audio through the cables just as if they were an analog unit.  These cables allow you to learn the system and fine tune your streaming parameters without having to spend money.  You can also use them to analyze the Lynx conversion.

Can’t find what your looking for?  Need additional information or help?

Please click a link below related to your specific question or visit our contact page for additional inquiries.

Technical Support