#fender blender

[fuzzkaizer]

Dynavox - Psychtone SS

"It's a 7 transistor Brazilian made fuzz that looks like a Big Muff, is inspired by the Super Fuzz, and has a modified Fender Blender circuit. It's pretty gnarly and super aggressive sounding! The switches are, On/Off, Timbre which works like the 2nd switch on a Super Fuzz, and Tone Booster which works like the 2nd switch on a Fender Blender. There's a later model as well with a different graphic, but it looks like the circuit is relatively the same."

extraordinary footswitch configuration

cred: instagram.com/ed_skymall

[eupat]

[gregkocismusic]

FENDER BLENDER CLONE | Cobra Fuzz VST AAX AU Plugin FIRST LOOK Safari Pedals

[shadow0-1]

For @depyotee

[knchr]

FENDER SHEILDS BLENDER

[oneefin]

an artist selling prints of their car crash cgi? that's a fender bender blender render vendor

[raccoonpointstudiosavm]

Can I turn my Line 6 HX Stomp into the Fender Shields Blender?

[guitarbomb]

Best Effects Pedals 2023 - Top 5 Stompboxes

Our list of the Top 5 stompboxes you need to know about that have been released so far this year

The Best Effects Pedals 2023 is a list of the top effects pedals. These are the top five new stompboxes released up until now. And so far this year has been a good one for new effects. Be sure to read our Best Guitar Amps 2023 and Best Guitars 2023 as well.  Boss DM-101 First on this list is the new Boss DM-101, mainly because it offers a classic analogue delay and pairs it with modern-day…

[cinder-aj]

It’s a long drive from your workplace in the city to your quiet home in the sticks. The sun went down around an hour ago, but it’s already pitch black out. Your headlights don’t seem to illuminate enough even with high beams, and you’re feeling sleepy following the twists and turns of the forested road. Speed limit: 50.

You’ve been this way thousands of times, but every night it’s made unfamiliar. You round another corner and suddenly see an enormous long-legged shape standing frozen before you, its eyes blazing white. You slam on the brakes and- CRASH! You pull over to inspect the damage to your car and the animal. You wince at the smashed windshield and dented fender, but your heart pangs with guilt at the sight of the creature. It’s breathing heavily and its limbs are twisted in unnatural ways… but it doesn’t look quite right for a deer. It has too many limbs, and its eyes are slitted and predatory. Instead of matted fur, its body is covered in thick scales. Its broken legs end in claws the size of your hand.

Whatever guilt you had couples with a fear as paralyzing as your headlights when the creature struggles to get up. In the polarizing spotlight, you get a glimpse of just how enormous its wings are. A creature so alien and yet at the same time so familiar in legends and pop culture that you can immediately recognize it. Its throat glows a dangerous orange and it opens its maw wider than any deer should with teeth that are way too sharp. The brimstone smell of flames hits your nose, and you dash back to your car. That is not a bear, not a bobcat, not a coyote or wolf, and that is NOT a deer.

I'm most proud of the wings and antennae! They turned out perfectly, much to my surprise. What I like the least is how splotchy the texture/color looks in some parts. I must have duplicated a mesh on accident while modeling, but they're merged, so I couldn't do anything. Ah, well. Pretty good for my first project with the program, right?!

School art project! Attempted using Blender for the first time in order to create a scene of my Castaway oc, Aloe, in highbeams.

Inspired by found footage and the Starflesh aesthetic, I thought my beginner-level modeling capabilities would lend well to the horror and uncanniness of driving at night and an animal suddenly crossing your path that isn't what it's supposed to be.

[mannytoodope]

Linda: Hey, Teddy.

Teddy: Hi, everyone. Uh, do I smell fries?

Linda: They're coming. They're coming. Soon, or, uh...

Bob: Okay, I'm gonna go park the car real quick.

Tina: Can I come with you?

Gene: Yeah!

Louise: Me, too.

Bob: You kids realize I'm just driving around the corner, right?

Tina: We don't have a lot going on today.

Gene: Yeah, that candy was kind of my whole schedule.

Linda: Well, you could help me fill up these napkin holders.

Louise: Mom, are you paying attention? Dad needs us to help him park.

Linda: Fine, go.

- All three: Yay!

Lousie: Hey, Andy.

Hey, Ollie.

Andy: We're playing outside today.

Ollie: That's a cantaloupe.

Andy: Fruit can be heads.And vice versa.

Louise: Okay. All right, Dad. Where are we really going?

-Gene: Lake Titicaca!

Bob: Gene.

- Tina: Vegas, baby.

Bob: I told you, we're just going to park the car around the block. Oh!

- (all shout)

-Bob: Is-is everyone okay?

-Gene: I'm good.

-Tina: Me, too.

Louise: I'm great. Again!

Bob: Uh, it's just a little fender bender. We-we just got hit from behind.

Tina: Also, you hit someone in front of you, I think?

Louise: And they hit someone in front of them.

Bob: Okay, so, uh, it's, uh, a few fender benders.

Gene: AKA a friender blender.

[mieux-de-se-taire]

Skylines and Turnstiles - MCR Interviews

Snagglezine Interview - 4/9/02

Gerard: We saw the plane hit right from the train and when we got there we were all just standing on the pier in Hoboken like right on the edge. There’s like 300 people that were friend and family and we all saw it go down. That’s when I realized that doing this cartoon was bullshit, I love to draw and make art but it was so commercial, it was just that I felt like having meetings with people in suits, it just made me realize what the hell I’m doing with my life. That’s what our 1st song that we always open with “Skylines and Turnstiles” is about. It’s about the Trade Center.

/

Dot Alt Interview - 8/30/02

Paragraph 3

Interviewer: So how did it all begin with MCR? Gerard: Matt and I got together around October/November and I had this song, Skylines and Turnstiles, that we worked out together. We liked where it was going so we asked the best guitarist we knew to play, Ray Toro.

/

Recroom Magazine Interview - 8/12/03

Jessica (Interviewer): What was the first song you wrote as a band? Gerard: "Skylines and Turnstiles.”

/

Alternative Press #197 - 9/17-20/04

Page 5, paragraph 9

“I ran into Matt [Pelissier] at a bar and said, ‘You know what? I’ve been writing songs. You’re not doing anything, and I’m not doing anything, so let’s get together and give it a shot.’” With a no-pressure commitment, Gerard played Pelissier a rough version of “Skylines And Turnstiles,” and he liked what he heard.

Page 6, paragraph 1

The trio recorded a demo in Pelissier’s attic. “My attic had no walls,” he says, laughing. “It was a wooden, run-down piece of crap. I had a really cheap 16-track board, and we had a bunch of crappy mics. I basically had the drums and guitars playing upstairs and ran mics down the stairs and had Gerard sing in the bathroom.” What came out of those sessions were the blueprints for “Our Lady of Sorrows” (original title: “Bring More Knives”), “Cubicles” and “Turnstiles.” “You could hear that it was something really new, and it was kind of a weird idea, but for some reason, as poorly as it was coming together, it really worked,” remembers Gerard. “And a lot of people loved the demo.”

/

Blender Magazine Interview - April 2005

Page 3, paragraph 20 to page 4, paragraph 1

After September 11, Gerard wrote his first song, “Skylines and Turnstiles,” and played it to an old friend, drummer Matt Pelissier. Pelissier knew a guitarist called Ray Toro. “They played me their one song and I was jumping around the attic and headbanging,” says Toro.

/

VMA Virgins Interview - 8/28/05

0:12-0:36

Gerard: The first song was “Skylines and Turnstiles.” I believe I had this blue guitar that I bought because Billie Joe [Armstrong] had like a greenish blue guitar, and I had it from when I was 15 or 16, so I used that guitar to write it in my mom’s basement, and I mean that was it. It was a very direct song about what happened during 9/11 and how I felt about it, and it was what started the band.  

/

Life On the Murder Scene - 2004/2005

19:32-19:47

Gerard: (As “Skylines and Turnstiles” plays in the background) You know I had that song, about September 11th, kind of my way of getting over it. Gerard: (Cuts to another interview) This was kind of like therapy for us when it started, and it still is. Gerard: (Cuts back to the first interview) And I said, “Just, you know, just listen to it,” and so I played it for [Matt Pelissier] and sang it, we played it together, and we just loved the way it sounded. 

/

Kerrang #1142 - 1/17/07

Page 9, paragraph 12

Gerard: From then on, I was in my parent’s basement with a small practice amp and a very old Fender guitar. That’s when I wrote ‘Skylines And Turnstiles’ [as a reaction to what he saw on 9/11] and some of the earlier material. I wrote those songs sitting in my pyjamas with notebooks all around me. It was me going, ‘All this stuff has been inside me for years and I want to get it out.’ I wasn’t depressed at that time exactly but I was certainly a hermit.”

/

Barcelona Live Stream - 3/5/11

7:43-8:04

*Audio Warning for loud booming in the background*

Gerard: (Reading off chat) “Skylines and Turnstiles,” maybe making a comeback Frank: Ah Gerard: We talked about that a lot. Frank: Yeah Gerard: (Pointing at Frank) You always really want it. I think we should try it really soon. Frank: I’d like to rework that song Gerard: Yeah Frank: I think it’d be really good one. But hey, that’d be kinda cool for our 10 year, to do the song that started it all Gerard: Yeah, I would love that. (Everyone starts talking at once for a moment) Maybe for our anniversary we’ll bust that out.

/

Kevin Smith SModcast Interview - 12/5/12

1:32:52-1:33:11

Kevin Smith (Interviewer): Is that the day? Or night? Or, when do you write what is considered to be the first song? Gerard: Oh right, I guess it’s like a week later. Kevin Smith: After that, and it was all predicated on September 11th? Gerard: Mm hmm, with that same Stratocaster, with the same little crappy amp that I had from when I was a kid. I just pulled it out and said, “Alright, I’m gonna do something else.” Kevin Smith: (Overlapping) Where are you? Are you home? Gerard: I’m living at my parent’s house, yeah

/

Where Are Your Boys Tonight? (Chris Payne) - 2020-2022

Chapter 8, page 107

Mikey: The demos got made shortly after 9/11. I was like, “I need to be in this band,” and they were like, “We need a bass player.” The first song I heard was “Skylines and Turnstiles.” It’s a heavy song, you know? I was like, “I want to be a part of this.”

/

Two Minutes To Late Night Interview - 8/15/22

23:13-23:40

Frank: When they started, the first song I think was like “Skylines and Turnstiles,” and it was just like, something happened. Gwarsenio Hall (Interviewer): Right Frank: These guys that I knew, that, you know, were the geekiest, nerdiest, like nicest, kindest, most interesting kids that you wouldn’t even stop and look twice at, like, turned into these-- they were rockstars. It was like-- it was undeniable, and it was unfathomable, like, it was crazy.

[delphoart]

a gender fender bender put into a blender he likes oily cheeked up men and wants to destroy every vagina

[vizentarchitectural]

How to Use Blueprints for Accurate Car 3D Model

One of the most effective tools for achieving accuracy in 3D vehicle modeling is the use of blueprints. These detailed, scaled diagrams allow 3D artists to model vehicles with realistic proportions, which is essential for everything from 3D modeling games to automotive visualization and cinematic animation.

Whether you're developing 3D game assets or working on 3D hard surface modeling projects, this guide will walk you through how to use blueprints effectively to create stunning and accurate car models.

Why Use Blueprints in 3D Car Modeling?

Before diving into the workflow, let’s first understand why blueprints are crucial:

Precision: Blueprints provide top, side, front, and back views of the car, ensuring dimensional accuracy.

Time Efficiency: With clear reference images, you reduce guesswork, speeding up the modeling process.

Consistency: When creating cars for 3D game environments, consistency in proportions across assets is essential.

Realism: Blueprints allow for better adherence to real-world dimensions, crucial for high-end renders or 3D modeling for simulations.

Whether you're working on a 3D game environment or a cinematic racing sequence, blueprints are the foundation of believable vehicle modeling.

Step 1: Finding High-Quality Blueprints

Your 3D vehicle modeling project starts with sourcing high-resolution, orthographic blueprints. These should ideally include:

Front View

Side View

Top View

Back View (optional but helpful)

Websites like The-Blueprints.com, Smcars.net, or manufacturer archives offer a wide variety of vehicle blueprints. Always make sure the images are to scale and from the same model variant and year.

Step 2: Setting Up Your Workspace

Once you have your blueprints, the next step is to set them up within your 3D software. Popular programs like Blender, Maya, 3ds Max, and Cinema 4D support image planes or reference image setups.

General Setup Tips:

Scale all views to match each other using real-world dimensions (wheelbase, width, height).

This setup ensures that your car 3D model maintains symmetry and accuracy during the Hard Surface Modeling process.

Step 3: Blocking Out the Base Shape

With the blueprints in place, you can begin 3D hard surface modeling by blocking out the main body of the car. Use basic primitives (cubes, planes, cylinders) to match the rough shape of the vehicle.

Focus on:

Proportions relative to the blueprints

Establishing the silhouette

Laying down key curves and body lines

This blocking phase is essential in 3D modeling games, where the mesh needs to be optimized for performance but visually coherent.

Step 4: Refining the Mesh

Once the base shape is blocked out, refine your model by:

Extruding panels like doors, hoods, and fenders

Carving out windows, grilles, and light cavities

For realistic 3D game assets, keep polygon counts balanced — high enough to retain detail but low enough for engine performance. This is especially crucial when integrating the car into 3D game environments or interactive simulations.

Step 5: Modeling Car Details

Accurate 3D vehicle modeling depends on realistic detailing. This includes:

Headlights and taillights

Side mirrors

Door handles

Grilles and vents

Wheels, rims, and brake discs

Use your blueprints along with photographic references to create believable parts. These smaller components are often reused as props 3D model elements in many scenes or games.

For 3D hard surface modeling, focus on clean topology and sharp edges using crease settings or supporting edge loops.

Step 6: UV Unwrapping and Texturing

Texture your car using:

Base colors (body paint)

Metallic maps (for reflective materials)

Normal and bump maps (for fine details)

Roughness and specular maps (for realism)

If you're working in 3D modeling games, you may need to prepare lower-resolution textures and bake high-poly details onto low-poly models using normal maps.

Step 7: Optimization for Game Engines

Cars used in 3D game environments need optimization:

Use baked textures and maps

Organize your UV layout efficiently

Group car components logically (body, wheels, glass, etc.)

Engines like Unity and Unreal require streamlined models to avoid performance bottlenecks.

Step 8: Rigging for Animation (Optional)

For racing games or simulations, you may want to rig the car:

Set up suspension movements

Animate doors or hoods for interactive scenes

Rigging is an advanced step that adds realism, particularly in 3D modeling games where vehicle interaction is crucial.

Tips for Better 3D Vehicle Modeling

Use Subdivision Modeling Techniques: This ensures smooth surfaces and better edge control during Hard Surface Modeling.

Leverage Modifiers: Use mirror, array, and subsurf modifiers to speed up the modeling process.

Stay Organized: Name your objects, materials, and layers. Use consistent naming conventions for game integration.

Don’t Overmodel: For 3D game assets, avoid adding invisible or excessive interior geometry that won't be seen by the player.

Applications of Car 3D Models

Once your vehicle is complete, it can be used in various applications:

AR/VR: Immersive showrooms and virtual test drives

3D game environments: Urban settings, garages, or racetracks

Props 3D model: Reusable car components or wrecked versions

This versatility is why 3D vehicle modeling is one of the most in-demand skills in the digital content creation industry today.

Final Thoughts

Using blueprints for car 3D model creation is one of the most effective strategies for ensuring dimensional accuracy, clean topology, and professional results. From beginner modelers to seasoned professionals in 3D environment modeling, understanding blueprint usage is essential.

Whether you're building vehicles for 3D modeling games, simulations, or cinematic visuals, mastering Hard Surface Modeling techniques and blueprint workflows will set your work apart. In the fast-paced world of digital art and 3D game assets, accuracy, efficiency, and realism are key — and it all begins with a blueprint.

[verticalreality2]

Fender Blender Fun with Vertical Reality

The Fender Blender makes smoothies fun and active by using your pedal power. Just hop on the bike, start pedaling, and the Fender Blender mixes your drink while you move. It’s a great way to stay healthy, have fun, and enjoy fresh smoothies anywhere!

[raccoonpointstudiosavm]

Fender Shields Blender is a Mind Bender!

[benjamindehli]

Fuzz pedal comparison with the Clavinet D6