When I first got the brief from Infected Mushroom and Polyverse, it sounded more like a sci-fi weapon than a plugin: freeze audio at the quantum level and manipulate it in real time. I was instantly hooked. The challenge wasn’t just designing a UI — it was designing a new language for a sound concept that didn’t exist before.

We weren’t making another reverb or EQ. This thing was unpredictable, glitchy, beautiful — a Frankenstein of pitch, formant, and modulation magic. So I leaned into that tension. The interface became a playground of extremes: giant knobs you can’t ignore, wild modulation shapes that dance like a synth waveform rave, and a crossfader that feels like a secret weapon for sound ninjas.

I obsessed over every detail — how the LFO waves move, how the colors hint at energy without distracting, how even the delay settings feel like they belong in a spaceship. The end result? A plugin that looks like it’s doing something illegal to your audio… but in the best way possible.