Pick a direction, a place, a length and a curve. The stop slows the audio to a halt over that length; the start spins it up from a standstill.
Stop at the end of a file
The default places the stop so it finishes exactly at the last frame. Load a track, press play near the end, and set Duration until the slowdown covers the last phrase. The output file is the same length as the source.
Stop in the middle of a track
Set Where to a time and move Begins at to the start of the stop. The slider ends at the file’s own length. For a stop on a bar line, take the time from the waveform and type it into the readout.
The effect replaces the audio between Begins at and Begins at plus Duration. Afterwards the file resumes at its normal position, faded in over 12 ms so there is no click. That makes the classic production move work as expected: the track stops on the last beat of bar 8 and drops back in on bar 9.
Spin up
Start is the mirror image. The audio begins at a standstill and accelerates until it reaches normal speed at the end of the window. With Where set to the edge, it opens the file. At a set time, the spin-up lands on the original timeline at the end of the window and crossfades into it over 12 ms.
The read speed and what it costs
During a linear stop the read covers half the window’s length of music: a 2-second stop plays the first second of the material under it, slowing all the way. Coast covers about 64% and Hard brake a third. The rest of the window’s material is not heard, the way a real stop skips what the tape never reached.
Pitch falls with speed because nothing corrects it. At half speed a note sounds an octave lower, and in the last 5% of a linear stop an A at 440 Hz has dropped below 20 Hz.
Limits
The effect is positional, so it has no range selector or random button. In the audio workflow a mid-file stop uses the same Begins at time, measured from the start of the source.