An ode to the MWFX Judder! Like that effect, this patch is built around a delay module with balanced feedback to produce stuttering, endless repeats, with a focus on interactive performance capabilities. It features momentary and latching engagement with LFO/Envelope-based activation and or/modulation.
All but the “Stutter”/Tremolo functions and nastier artifacts of the original unit have been replicated here to the best of Zoia’s abilities. Added functions include stereo capability, more refined control over bit reduction and distortion for the feedback path, the ability to slew the LFO’s modulation of the delay line, and control the decay of the envelope control signal.
Controls/UI:
Left footswich: Momentary
Center footswich (via aux mode): Latching.
Starting from upper left:
Red: Delay Time. Range 65ms – 250ms / 65ms – 2 sec.
Orange (to right of red): Hold, or basically feedback. On the original unit, noon on the knob was trimmed to be a pretty close-to-perfect feedback loop, as I have done so here, as well. CCW decreases feedback and CW increases it
Mango (to right of previous): LPF Cutoff, coming from a pair of multifilters on page 2 if you want to mess around with resonance.
Yellow: Mix (Dry only when effect is inactive)
Lime: LFO rate
Green: LFO Smooth. Go from square wave @ 0 to 1.5 second-long slews at max
Surf: LFO Pulse switch adjusts the “swing” of the square LFO to make the “on” state roughly 1/4 of the duty cycle as opposed to 1/2, similar to the “Auto” vs. “Auto 2” functions of the original unit.
Aqua: LFO indicator
Sky: Mod depth
Blue: Envelope sensitivity
Purple: envelope decay. Range: 0 – ~5s.
Magenta (to right of purple): Input envelope indicator.
Magenta (below mod depth): Bit crush.
Pink: Distortion.
Peach: Dist on/off. I found it was necessary to be able to completely remove the block from the chain to maintain pristine loops.
White (to right of peach): Buffer indicator, just to give visual feedback of the audio being looped.
Orange below Red: Delay Short/Long switch. See above for ranges.
Mango below: Layer Switch. This nullifies the “dry kill” switch on the delay input and gives the patch more traditional delay-like feel, especially if “Hold” is decreased for repeats to fade out.
The 6 white squares on the left side of the page are two three way switches.
Top row: selects activation source. Left is Off/footswitch-only, middle is LFO and right is Envelope. 3 squares on the top row will glow red for LFO and orange for Envelope.
Bottom row: selects modulation source, also Off-LFO-Env, from left to right. Glowy indicator squares share the same color scheme as the activation source switch, but with the squares on the bottom row.
Expression: set to control delay time, and is also governed by the short/Long switch.
Midi: CC inputs are set to control the momentary/latching footswitches on CC10/CC11, respectively, on channel 1. Feel free to change this as you wish on page 4.
Update 4/4/26:
-The mix control has been fixed so that it doesn’t govern the dry signal level when the effect is inactive
-Missing audio connections for distortion/bitcrush modules have been added
-The “Lofi-Sync” switch was removed and replaced with a Dist On/Off toggle switch
How stable would the feedback loop remain when pushed into self-oscillation during extended performance, especially with added Geometry Dash modulation and distortion in the chain?
I guess it would depend on your definition of “stable”. Like the OG Judder, modulation sources are additive to the delay time, so modulation will result in the same kind of warped playback pitch degradation that occurs whenever you tweak the delay time on an analog delay pedal with a feedback loop going- the warp artifacts will be recorded for the subsequent feedback loop. In other words, once you modulate a sample, you can’t get it “pristine” again.
The distortion controls an overdrive module that simultaneously increases/decreases the input/output gain, respectively. Any setting over 0 is going to require reducing the “hold” value to keep the oscillation volume in check. Lower distortion settings will result in a slower, more gradual degradation of the feedback signal. It is possible to infinitely sustain a sample that is progressively distorted, though this will typically result in emphasis of higher harmonics, similar to amplifier feedback. This is especially apparent at lower delay time settings.
Bitcrush is where things start to go off the rails, as far as sustained feedback is concerned. The effect distorts your signal in such a way that disrupts the feedback cycle and introduces higher-frequency artifacts into the sample. Bumping up the hold control can help a bit, but even moderate use can trend toward short-lived feedback cycles that die out in a wisp of bit-loss artifacts. However this can sound pretty cool on more delay-like settings with the layer switch on.
Some of the above comment is now inaccurate after doing more testing and making the revision to 1.1
I found that even 0 input gain on the distortion module wouldn’t prevent harmonics from being generated, so distortion is now toggleable if pristine loops are desired. The Distortion output level curve has been tweaked to make “Hold” value adjustments less necessary.