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Steampunk effects pedals for vocalists.

Steampunky.
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Inspired by the linked idea by Vernon.

Electronic effects are increasingly applied to make vocalists sound good, but they have a certain coldness about them. I propose, therefore, a set of steampunk vocal effects pedals. These pedals could be operated by the vocalist (if they retain consciousness), or by the sound engineer. Many of them will also require the vocalist to be harnessed to a suitable restraint chair.

Chorus: the singer starts several miles from the microphone (which must be sensitive and directional), and delivers a few notes. They are then whisked very rapidly to a point half a mile closer to the mike, where they wait for their original notes to catch up them, before re- singing them. The process is repeated until the singer is close to the mike, where they can add the final layer to the sounds which will arrive simultaneosly.

Pitch-perfecting: this is an entirely more dynamic system. A hydromechanical analyser monitors the singer's pitch, and controls the restraint couch. The necessary accelerations (to or from the microphone) are applied in order to correct minor pitch errors. Glissando and vibrato effects can be produced in the same way. (The manufacturers cannot accept any responsibility for the consequences if this effect is applied to poor-quality yodelling.)

Self-harmonising: rather than using a dull multitracking system, a singer can now harmonise with themselves thanks to a very large wall placed behind them. The wall can be accelerated toward or away from the singer, Doppler-shifting the echo of their voice while leaving the original unaltered. Both original and Doppler-shifted voices will arrive at the mike. Note that prolonged periods of Bee Gees-style autoharmonics may produce unwanted singer/wall interactions.

Tremolo: given that a singer's voice is somewhat directional, as are microphones, a simple rotation of the restraint couch (at, say, 5-10rpm) will produce a wonderful tremolo effect.

Beat-box: for those ungifted in the art of producing percussive oral music, a simple pummeling attachment enables the restrained singer to generate the necessary oof-oof-eshhh sounds, now guaranteed to perfectly in synch with the music.

MaxwellBuchanan, Nov 23 2011

Inspired by: Vocal_20Chorus-izer
[MaxwellBuchanan, Nov 23 2011]

[link]






       When I was the 'singer' in a hardcore band, we used to create very interesting effects along these lines by running the vocals through various analog guitar pedals, which are designed to work with a different type of sound and therefore created effects that dedicated vocal equipment would not. It was sort of one of our signatures.
Alterother, Nov 23 2011
  

       Wait. Several miles? How big do you want this recording studio to be?
Alizayi, Nov 23 2011
  

       Not too small, really.
MaxwellBuchanan, Nov 23 2011
  
      
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