Looking for Criticism
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You are currently reading a thread in /3/ - 3DCG
You are currently reading a thread in /3/ - 3DCG
Looks cool, maybe a bit too repetitive on the synth
>>515380
8 octaves? That's 96 keys. That's more keys than a piano has. Most synthesizers are only 5 octaves.
What are the functions you're modelling? Where are your pitch bend and modulation wheels? Think about what it is the synthesizer is going to do. How it's going to be programmed. How the user is going to interface with the synthesizer and then model it from there. Have your waveform controls, your envelope controls, effect controls. This just looks like you've made sections of random patch points and knobs with no real thought put into what those knobs and patch points are for.
Those cloverleaf knobs are not going to feel good on the figures and when you're playing a synth you're usually modulating and twiddling with your left hand, you're going to want knobs that feel responsive and comfortable and don't fight with you.
Put more thought into the engine of your synthesizer and then build your model from it. Form follows function.
The black keys need to be taller. They're too short, it would feel very awkward playing that.
>>515380
It looks like you went for "pixar lighting" and want this to fit into the Toy Story verse
>>515407
Please explain?
>>515380
Looks great. I hate the knobs and I hate how the patch bays are just window dressing.
>>515380
I agree with this guy >>515396, put more thought into the synthesizer, the buttons look weird to me and there is no labels, lights or anything interesting going on.
as of the composition, the elements are two far from each other, leaving a big blank space in the middle of the image.
>see this little 'fix' i did for some reference.
>>516150
i forgot to center the elements and fix the text
teeta
49, 61, 76 or 88 keys.
Look at some real synthesizers. This model is a complete mess. Your interface is just random knobs and patch points. Do you even play?
>>516151
wood bump way too high, the nobb pannels bump is too high, and it needs a dust/wear pass on everything
I will give you the basics of a synth engine so you'll know how synthesizers work and what sort of knobs and patch points might be on the synth.
Your starting point is the oscillators. Oscillators are the thing that make the source noise.
How many oscillators does your synth have? Let's say you have three oscillators.
Now how would those oscillators be configured? Maybe you can play each oscillator separately for a three voice polyphonic synthesizer, and/or maybe you can stack them and have a real fat one voice oscillator. And/Or maybe you stack two of them and use the third as a ring modulator. So you're going to need the controls to do that.
Now you have to select the type of waveform the oscillators produce. You'd typically have a saw tooth wave, a square wave, and a triangle wave. Do all three oscillators in your synth produce the same waveform or are they capable of running independent waveforms?
Now you're going to need a way to detune the oscillators from each other as well as a way to sync and unsync them, that's more controllers right there.
Now we leave the oscillator section. This can be a patch point.
Next we'd have the envelope section. Your typical analogue synthesizer would have an ADSR envelope generator. This stands for Attack (what happens to the sound when you first press the key) Decay (what happens to the sound after the attack phase has finished), Sustain (what the sound does while the key is being pressed) and Release (what happens to the sound after the key is released.
Your envelopes are typically applied to the filter and to the amplifier. So one ADSR will effect the frequency of the sound and the other will effect the volume. There's 4 knobs for each envelope generator right there. Does each oscillator on your synth have it's own independent envelopes or do they share them. You can have a patch point going into and out of each envelope generator.
>>516182
(Cont)
Next you'd have an LFO generator. This is a low frequency oscillator that like the other oscillator produces a waveform but this waveform is too low in frequency to hear. It instead modulates the audio waveforms. It's controlled typically by what is called a modulation wheel. It's a wheel on the far left of the keyboard. There's two of them typically, the one on the far left is used to bend the pitch and the one on the right of it is used to modulate the sound via the LFO. Just like your audio oscillators the LFO will have a controller to switch between the different types of waveforms it produces. The LFO can typically be patched to modulate either the pitch (oscillators) or the volume or the frequency. So you can have a patch point here.
Next we'll have the real time frequency filter. This filter can usually be set to either a Low Pass filter (let's the lower frequencies pass through), High Pass filter (let's the high frequencies through) or a Band Pass filter (lets frequencies in a set band in the middle pass through). There will be a knob that controls the cut off and a knob that controls the resonance. There can be a patch point here.
Finally you might have an effects section where things like reverb, chorus, phase, flange, delay are applied to the sound. There can be a patch point here too.
The synthesizer you made is all patch points but they come and go to nothing. There's no function for them. You need more knobs and fewer patch points on your synth. Layout your synth in sections. Have you oscillator controls in one area, envelope controls in another, LFO controls etc. etc.
Of course the engine I laid out for you is a Subtractive Synthesis engine (the oscillators produce a raw waveform and the filters subtract frequencies from it to shape the sound). For an Additive Synthesis engine it's a completely different ball of wax.
so have you fixed this shit OP?
