Jasper wrote:That backing track is overkill. I hate backing tracks, but if you're gonna have it, make it one or two voices, mixed low, not something that sounds like a small army mixed higher than everything else.
Has anybody ever heard of a chorus effect that will harmonize with the voice feeding into it, in real time? I haven't, but I'd like to see it. What about one that feeds to two or three different channels and each on has it's own fx, like...maybe there's a flange on one, maybe the second is pitch shifted up an octave, etc.
Yeah, there's plenty of effects that can be used to "treat" Perry's vox live to get virtually the same layered, "chorus" effect his vocals have on the studio tracks for this last album. Ozzy's been using a ton of effects on his voice both in the studio and live since virtually day one of his career. But when the singer fucks up, it's often magnified running through all those effects.
It's one thing for Perry to have his big, old school vox effects box up there on stage and twist dials and punch buttons to add massive echo and flange n' shit on his vocals as he's singing. That's no different than a guitarist using an effects rack and foot switches - the thing is, the audience *sees* the musician actually doing all that cool looking shit, there's no trickery or attempts to hide what's going on and of course it adds spontaneity and drama to the performance. But when there's pre-recorded tracks, especially vocals (or worse, off-stage, hidden singers), that's just bullshit and the audience picks up on that right away.
Perry *is* using backing vox at times and I honestly didn't think he was doing so to the extent he was on Underground live 'til I saw the Letterman clip. That's pretty pathetic to see and I can guarantee that sooner or later relying on pre-recorded vox to that degree is gonna bite him on the ass when his sample file locks up when he hits that foot switch.