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.