Sounds like a neat tool. The auto‑reverse feature could give tracks an eerie, otherworldly feel if you layer it over a pad and let the modulation sweep through. We could try setting a low‑frequency oscillator to slowly glide the pitch, then reverse the waveform in real time so the swell becomes a reverse swell—great for breakdowns. Maybe run it through a reverb with a long decay and a touch of delay to build that atmospheric swell. If we push the modulation depth, we could get that glitchy, evolving texture that makes the mix feel alive. Let me grab a demo file and we can tweak the envelope settings together. Think we could create a track where the reverse section leads back into the original, creating a loop that feels like a sonic time‑loop? Let me know what you think.

Sure thing, I’ll pull up a test clip right now. I’ll set the envelope so the modulator ramps up slowly, then reverse the waveform at the peak, and let it bleed back into the original. Then we can tweak the LFO rate to hit that glitchy feel. Once I’ve got the presets, we’ll run a quick play‑through and see where the loop breathes. Ready when you are.