About & Our Criteria

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Vocal Analyses



This blog was made with the intent to share knowledge and share vocal analyses from different vocalists in K-pop. Nobody in the blog is a hater or an anti-fan. The analyses give positive and negative points and are all constructive criticism, nobody is telling you to hate or not listen to your favorite idol vocalist. We’re only letting you know what their vocal skill based on what vocal technique and music theory is from a musically professional standpoint. If you’re confused about rankings, categories and such, click the about and our criteria page. This post will also include the information existing in that page if you’re unwilling to click through just click read more. Otherwise click About & Our Criteria and most questions should be answered. We try to back up all our points with substantial evidence from the singers’ performances, we thoroughly listen to their performances from past and present. No one in this blog claims to be an expert, we’re all learning and everyday we learn more and more, just as we respect your opinions, please respect ours, which were influenced by the knowledge we have and the way we’ve been taught. Thank you.


This blog is dedicated to compile vocal analyses done by our contributors in order to satisfy everyone’s curiosity regarding their idols’ vocal. The analysis will be based solely on VOCAL TECHNIQUE, not tone, timbre, emotions, stage presence, etc.

The analysis might change according to their latest performance.

If you would like your idol to be analyzed feel free to drop the question in the comment box. If you feel that the analysis is not accurate, you could suggest a video or recording and give us the reasoning behind your disagreement. We will gladly alter the vocal analysis page of the respective idol if your reasoning behind it is proven.

Comments will be moderated. Constructive discussion are welcome. Bashful and hateful comments will be deleted. Every idol mentioned here are talented in their own way. Even so, we are focusing solely on their vocal capabilities and we try our best to give an objective analysis regarding the matters.

So far, we will use this system as our judging criteria. We will elaborate more once it’s established. It goes from best to worst.


A key of a song means within the key signature of the song. There are 12 notes in total, C C#/Db D D#/Eb E F F#/Gb G G#/Ab A A#/Bb B and back to C, completing one full octave. A tone is from a note up two semitones, so the distance between C and C#/Db is a semitone, whereas C and D are a full note apart. A major Key will follow a tone tone semitone tone tone tone semitone pattern, so C major is C D E F G A B C. Although there are no sharps or flats between E and F or B and C, they’re a semitone apart. # stands for sharp and b stands for flat and whether or not you name a note sharp or flat depends on the key, i.e. C# major and Db major are the same key with different names, C# D# E# F# G# A# B# C# and Db Eb F Gb Ab Bb C Db, on a piano the same notes are played, just with different names.

Being able to stay in pitch and in key. Good intonation means not going sharp, flat or singing a note that isn’t within the chord progression and/or key of the song. Going sharp means slightly above the pitch but not really hitting a note above, so like a note in between C and C#, and flat means a note that’s slightly below pitch, so a note in between C and B, for example.

Larynx Position/High Larynx/Low Larynx/Neutral Larynx
The larynx is the part of the body where the vocal cords are located. The vocal cords are very small and are divided into two parts that vibrate against one another in order to create sound. The speed of the vibration generally determines the pitch someone sings in. Much like tuning a guitar, the more stretched the vocal cords are and thinner they become, the higher the pitch and the thicker they are, the lower the pitch is. In order for a note to be hit, one should have a relaxed opened sound in the larynx, without any restrictions from the throat muscles. If the larynx is pushed down, it creates a froggy and fake “soulful” tone, if it’s pulled up, it creates a thinner, squeezed and tight quality to the voice. The natural state of the larynx is being neutral when it’s relaxed, if it’s forced either up or down, that means the muscles in the throat are creating tension and the larynx is trying to reposition itself in an uncomfortable and unnatural position to hit notes that are not within the individual’s supported range. 

Tonality/Tone Production
The way tone and sound is produced through good support. The voice comes out stable, without any laryngeal restriction nor tension, tone is clean and has the true sound of the individual’s voice type, without an uncentered pitch, excessive breathiness, nasality and tension.

The shift between two notes rapidly within, normally, a sustained note. The difference between the notes is usually less than a semitone. A forced throaty vibrato is usually produced artificially by using the throat, instead of the natural vibrato that comes out once the vocal cords are relaxed with good breath support.

The stability of the voice, meaning it’s not off pitch and it doesn’t sound wobbly, shaky and unsupported.

Chest voice, lowest range. Head voice, highest range. Mixed voice, the belting area of the voice.

How the individual vocalist uses their correct breathing technique with the diaphragm to better support, project and hold their voice together.

Placement vs Resonance vs Projection
Resonance is the optimum sound a vocalist should focus on when singing. It is a full, clean and round sound that won’t sound thin, constricted or small. A vocalist who’s resonant will use different types of placements, i.e. their voice will be placed either in their chest, head or mask (cheekbones area, not nose) to project their voice, in each individual register. A vocalist may be able to be resonant in their mixed voice by normally placing their voice in their mask with chest resonance, or as they go higher, with head resonance. A resonant sound is always going to be a projected sound, now resonance doesn’t mean loud, because a loud sound may still be pushed and strained. You may project but still have tension, but in true resonance tension should not be present. Resonance is produced when the vocalist is able to support their voice. In other words, they have developed vocal cords that are able to connect fully in a healthy manner, without breathiness coming between them nor too much constriction, against the right amount of air pressure. Then the supported sound is enhanced with the proper placement of sound, while keeping the soft palate lifted, the larynx position not high, the swallowing muscles, jaw, tongue And throat relaxed and the jaw dropped so as to amplify the sound of the voice. The combination of an open throat, support, relaxed singing and proper placement is what creates healthy resonance in singing. 

Vocal Range vs Supported Range vs Tessitura
Vocal range means the individual’s lowest singable note to the individual’s highest singable note.  A tessitura will depend on the individual’s voice type and where their voice sits most comfortably, shines the most and could project the best. A supported range includes notes outside the tessitura where the individual’s voice type may not be naturally inclined to project well in, however so due to the vocalist’s own ability, they’re able to still maintain tone production, support, projection and stability. e.g In classical music, sopranos’ tessituras are something in between A3/C4 to  A5/C6, however in contemporary music a soprano singing as high as C6 is very uncommon and unnecessary; a contemporary soprano, for an example Luna, is able to keep resonance consistently up until Eb5, which is almost ideal for a soprano who should be able to carry that resonance up until A5 without a problem. However so she’s also able to sing down to G3 with correct support, which although is outside her voice type’s natural tessitura, she’s still able to keep support and projection down there.

Musicianship is the act of changing any song given to you and making it your own, usually on the spot. This includes melodic changes, rhythmic changes and added embellishments. Musicality is the act of interpreting music correctly according to each individual genre of music, by adding the correct use of vocal effects (e.g. raspiness, breathiness, growls, vocal runs, vibrato) and playing with the song musically by adding dynamics (e.g. singing softly, loudly, powerfully on the right moments of each song).

Passaggi/Vocal Bridges
A passaggio or a vocal bridge is an area of the voice where one’s voices transition naturally from one to the other in the modal register. Usually for males, the distance between the first passaggio, from chest voice to mixed voice, and the second passaggio, from mixed voice to head voice, is only about a 4th apart, whereas for females it’s about an octave apart. Passaggi are important for one to be able to tell what someone’s voice type is. A register break or the highest note you can sing in your chest/mixed voice before transitioning into head voice is NOT your first passaggio. The first passaggio is a note in your range where your voice naturally feels a switch of muscle coordination in your vocal cords. That doesn’t mean you can’t bring a chest dominant or balanced mixed voice above your first or even second passaggio. Lyric tenors usually have their passaggi around D4/Eb4 and G4/Ab4, whereas lyric baritones have their passaggi at B3 and E4. Lyric sopranos are usually at F4/F#4 and F5/F#5.

A musical phrase usually will last a couple of bars. During a phrase, the melody may be played/sung smoothly connected without every note sounding chopped up, whereas staccato means emphasizing every single note separately with minor less than a second breaks in between every note. Legato is the most basic form of singing through correct breath control and support.

Vocal agility is an embellishment and it means, being able to sing many notes accurately and quickly, by separating each individual note while still being able to connect them within one sung vowel. Those are usually called melismas or vocal runs.


Excellent Vocalist

  • All three registers are developed
  • Supported as close as possible from their highest to lowest extremities
  • Range wise, supported range without head voice for sopranos falls somewhere within C3 ~ E3 (or lower) and G5 (or higher)
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within Bb2 ~ D3 (or lower) and F5 (or higher)
  • Range wise, supported range without head voice for tenors falls somewhere within F#2 ~ A2 (or lower) and C5/C#5 (or higher)
  • Range wise, supported range without head voice for baritones falls somewhere within D2 ~ F#2 (or lower) and A4/Bb4 (or higher)
  • Within their Voice Type’s tessitura they are consistently resonant
  • Complete support in the middle register and lower register
  • For females head voice must be completely resonant at will; for males head voice must be completely supported
  • Connection in the voice with no noticeable breaks when transitions are being made
  • Agility is present and pitch is controlled with good separation between individual note, potentially very complex runs are done from the bottom to the top of their ranges
  • Musicianship the ability to change a song and make it their own and Musicality having complete control over the voice in any given genre
  • Almost perfect intonation
  • Tonality is almost never lost


  • Developed registers, but one register may be lacking in development
  • Optimal resonance is achieved on a regular basis
  • Range wise, supported range without head voice for sopranos falls somewhere within F3/F#3 and F#5/G5
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within Eb3/E3 and E5
  • Range wise, supported range without head voice for tenors falls somewhere within A2/Bb2 and B4/C5
  • Range wise, supported range without head voice for baritones falls somewhere within F#2/G2 and G#4/A4
  • Support is present in all registers, but maybe not to their lowest and highest extremes
  • Within in their voice type’s tessitura they are resonant and well projected, but not as resonant and well projected as Excellent vocalist
  • Connection in the voice with no noticeable breaks
  • Agility is present and pitch is controlled with good separation between individual notes
  • Great interpretation skills (Musicianship), but Musicality may not be as finely tuned as Excellent vocalist
  • Intonation is almost perfect
  • Tonality is almost never lost


  • One very well developed register or two well developed registers, with the others either being Average or Above Average
  • Able to sing through their first passaggio and second passaggi with support and resonance, and above
  • Range wise, supported range without head voice for sopranos falls somewhere within F#3/G3 and E5/F5
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within E3/F3 and D5/Eb5
  • Range wise, supported range without head voice for tenors falls somewhere within Bb2/B2/C3 and Bb4/B4
  • Range wise, supported range without head voice for baritones falls somewhere within G2/G#2 and F#4/G4
  • Optimal resonance often present, but is not always achieved
  • Within their vocal type’s tessitura they are resonant and supported, but tonality can be lost at times.
  • Connection between registers is not always present
  • Some agility, but runs and transitions are not always controlled
  • Interpretation skills are present, has show musicality
  • Good intonation rarely goes off
  • At times can lose tonality by rarely does


  • One well developed or two/three somewhat developed register well balanced
  • Able to sing through their first passaggio and second passaggi with support and resonance
  • Range wise, supported range without head voice for sopranos falls somewhere within G#3/A3 and D5/Eb5
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within F#3 and C5/C#5
  • Range wise, supported range without head voice for tenors falls somewhere within C3/C#3 and G#4/A4
  • Range wise, supported range without head voice for baritones falls somewhere within G#2/A2 and E4/F4
  • Consistently supported within their supported range
  • Resonates at times, but optimal resonance is not a regular occurrence
  • Connection between the registers is not present
  • Intonation is not perfect, off-key moments happen at times
  • Good tonality isn’t always kept, strain and tension are apparent at times

Above Average

  • One somewhat developed register with the others being average or weak
  • Able to sing through their first passaggio with consistent support and possible resonance up to their second passaggio
  • Range wise, supported range without head voice for sopranos falls somewhere within A3 and C5/C#5
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within G3 and B4/C5
  • Range wise, supported range without head voice for tenors falls somewhere within D3 and G4/G#4
  • Range wise, supported range without head voice for baritones falls somewhere within Bb2/B2 and Eb4/E4
  • Inconsistent with resonance
  • Even in their supported range strain and tension can be present
  • Nasality can be present within the voice at times
  • Intonation issues can be frequent


  • No register is developed considerably well
  • Able to sing through their first passaggio with adequate and consistent support
  • Range wise, supported range without head voice for sopranos falls somewhere within Bb3 and Bb4/B4
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within G#3 and A4
  • Range wise, supported range without head voice for tenors falls somewhere within Eb3 and F4/F#4
  • Range wise, supported range without head voice for baritones falls somewhere within C3/C#3 and C#4/D4
  • Inconsistent with support, and if at all resonance, even if occasional resonance has happened
  • Good tonality is not present at all times, nasal placement is normally used
  • Frequent intonation issues


  • No developed registers
  • Unable to sing through their first passaggio with adequate and consistent support
  • Range wise, supported range without head voice for sopranos falls somewhere within B3 and G#4/A4 (or less)
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within A3 and F#4 (or less)
  • Range wise, supported range without head voice for tenors falls somewhere within E3/F3 and Eb4/E4 (or less)
  • Range wise, supported range without head voice for baritones falls somewhere within C#3/D3 and B3/C4/C#4 (or less)
  • Very inconsistent with support, strain,no resonance
  • Good tonality is not present
  • Out off tune singing is frequent

FYI, Among KPOP idols there is NO ONE who is considered Excellent/Amazing/Fantastic vocal-wise (Imagine Maria Callas, Mariah Carey, Natalie Weiss and Whitney Houston as amazing/fantastic). They are Great/Good at best.

For further question you can ask the contributors directly at this forum

OneHallyu vocals’ thread






7,891 thoughts on “About & Our Criteria

    1. Nobody in Seventeen aside from DK and Seungkwan support. Now the link doesn’t work, but I know how they all sound generally.


  1. Hi there, I have a question about Yuju’s C5 in Navillera ballad version. You once said it was strained and I did hear the strain quality of the note in that video. However, when listening to the fancam, her C5 sounded nicer to me and I don’t hear the strain from it any more. So could you recheck it for me? Thank you 😀


    1. It’s not as strained as I initially remember hearing, but I still hear throaty glottal tension and I think it’s from her trying to be fuller than she needs to be. It sounds better in the fancam but the underlying tension is still there.


      1. Hi, nice initiative. Could she be using compression and twang for belting? She sounds a relatively light voice, to me, so she might not need much thinning from baseline, to get to that note. It doesn’t sound overly brighter nor darker than her “natural” voice. Could it be?


      2. I used the term as an ideal “speaking voice” register where the folds are relatively contract, but we are aware that varies too, meaning that a soprano might be thinner as a base.
        One with thicker folds potentially needs to thin out more for the same note, although not necessarily to the extent of chaging the registers. The same note would need more tension if we keep the mass (not chaging register) but also more pressure maintaing the full thickness and high contact, hence part of mixing is about balancing this factor and decompressing a bit, I think. This same maneuver might not sound lout and full below the passaggio, but starts to be potentially used as belting above it.
        A soprano though, might safely pull up more.


      3. I know what you mean now and you’re right. For a thicker voice, you need to thin out more to keep going higher. A lighter voice wouldn’t need to do it to the same extent. Now what do you mean with your question? Do you mean a twangy placement with overcompression from the vocal cords, causing her to drag too much effort when she doesn’t need to for a note that’s not that high for her? Cause if so, then yes.


      4. Oh I meant mainly that maybe being she a lighter voice, yes, she might be twanging more than she need. I am, I believe a baritone and unless I twang very heavily I still sound dark, especially in high notes, then I balance, in head voice heavy twang and covering, otherwise it sounds blunt or like a countertenor, which is also I color I love, for my palette. Same, to a proportional extent altos and such.
        In short, yes, I agree less effort needed for here, she might as well do it in “head” and twang to cover a bit or keep the chest and cover a bit more without over compressing. But overall she sings very nice I think and I don’t claim more expertise. I keep humbly practicing and learning, high medium and low, all registers :).


  2. Hi Ahmin! I’m very curious about this.
    1. G3/G#3 is the baseline to consider a soprano’s chest register developed. Among idol soprano who can support this low, who are the best three among them? I have this feeling that it would Luna>Jessica/Eunji>Solji?

    2. I know that this question should be posted to John Park’s Anlaysis but I’ll do it here to conserve some of your time. His supported range is G#2 – E4/F4 -C5/C#5(with head voice), if you are going to transmute it in tenor range, it should C3 – G#4/A4??

    3. I’ve seen some comments on youtube comparing Sohyang and Regine Velasquez(Filipina), I checked her(Regine), I heard some supported C5 from her. I am not sure though. What are your thoughts about her?

    Thank you so much. 🙂


    1. 1. Is it the baseline? I don’t know the answer because I haven’t given much thought to this.
      2. Something like that, yes.
      3. I would rather not comment on her technique.


    2. Regine’s supported range during her prime is Bb3-C#5. Now, she barely supports any notes on the fifth octave. After her pregnancy, she became throatier. I think it’s because her pregnancy made her developed that habit.


  3. Hi! I just looked through your list of upcoming analyses (quite a lot :O) and I’d just like to thank you all. You guys are amazing for putting so much time and effort into this blog~ I saw that Berry Good’s Taeha is listed for an analyses, but not Gowoon. Is there a specific reason for this? I believe they are all vocalists and Gowoon is the main (although I’m sure that doesn’t necessarily mean that she has the healthiest technique). Is Taeha’s technique considerably better than Gowoon’s, or is there another reason for Gowoon not being listed? Thank you~


  4. Hi! here is two videos of Dimash’s version of ’’SOS d’un terrien en détresse’’. This isn’t kpop, but I didn’t know who else to ask this question to :(, and I wanted you to know him!

    version in 2017

    version when he was 16yrs old

    Q1 : At 1:14 in the 2017 video and at 0:39 in the 16yrs old video, he begins the chorus. Is he singing higher in one of the versions, and is it in head voice?

    Q2: At 2:22 in the 2017 video and at 1:24 in the 16yrs old video, he sings a high note, does he strains in both of the videos, is one worse than the other? I guess it was a stylistic/wow kind of choice?

    Thank you! In hope you consider my questions!

    PS: sorry if the videos are not embed here, I don’t know how to.


    1. Hi, same thing I noticed, that specific note. It’s the same in both videos, it sounds very “mixed” to me, especially in the 2017, it might be head voice, in the sense of M2 aka partial fold register, but of course full sounding and with much chest resonance and covering, to the point it sounds almost like a tenor classical high note, which is often still in the full fold regime M1 but thinned out, hence it’s still called “head voice”. The onsed makes me think it’s in the lighter register, the ramp of notes from which he goes there in the 2017 video becomes very breathy after the chesty low notes preceding them at the start (especially the lowest one is very darkened), which happens often when one sings in head voice, as it tends to stay breathy low and acquire power and fullness up high, to avoid that one has to mix notes leading to it.
      Softening the ramp can be a stylistic choice, but it definitely eases the things up :D, plus he does it less in the 16yo video, where I feel like he might be keeping the full folds.

      Before the chesty high note, he sings the same note with a countertenor covered color. I think it sounds better in the 2017 definitely in this one (1:17), more control and cleanness, the difference with what he does in the later high note is he does it more twangy and compressed, brighter, but the underlying register is different. Might not be strained as well, but I think it’s too blunt.
      He definitely bridged later at 16, but just because of the higher voice, then he became a tenor, I think. Great job at keeping the range and fullness through age :).


  5. Hi ahmin,
    I have some questions want to ask you regarding as Yim Jae-bum’s singing technique
    Here is one of my favourite , For You,

    I am wondering can you give me some brief explanation about how he did on the first chorus part….
    He always sounds like he is not letting his full voice out…. like some voice is stuck in his throat…..

    I hope ahmin you can answer me. Thank you so much:D


      1. I mean let’s say, Christina Aguilera. Although she pushes a lot, she’s still singing until D5, I think? But as she ascends, instead of singing, she’s just screaming. My friend is asking me to differentiate a “pushed, strained belt” and “screamed note”. I can differentiate it by instinct but I cannot explain how.


  6. Hey, I don’t know if you remember me, I’m the guy who sung Listen and All Of Me on Smule. Sorry if I didn’t send you any of my vocal exercises but as a mobile user, I have some loading problems with this site so I can’t really post messages. I was wondering if you had an email address or something? It’s easier for me to send you how I improved since the last time, but I’ll understand if you can’t. Anyway, I improved my breath control (I don’t push H anymore) even if it’s complicated to take small breaths because I was so reliant on air before, my voice is now lighter and on good days I can belt G#4/A4, I also try to properly close my vocal chords and control the air but my voice cracks more on high belts now… Is it normal? I think that I improved, but it’s you who will say it (at least I hope lol). My head voice is less powerful now though and I have more issues with it, I also don’t want to get a vocal coach for now because … Money and stuff you know 😂 I hope you’ll understand, and I’ll try to send you a little voiceclip.


    1. Hi dear! If you go on my youtube channel under business inquiries on my about me page, you can find my e-mail there. Yes cracking is normal when learning to do new things with your vocal cords.


  7. Dear ahmin
    I have just finished watching Sixteen and i notice that Jiwon, Minyoung and Jihyo are possibly 3 best vocalists of the show . Which one is the best one and which one is the worst out of them? Is it true that Minyoung has issues with nasality and throatiness as i noticed ?

    One more question . Does mixed voice happen naturally as we ascend to higher notes or do we have to learn how to blend head voice and chest voice in order to create mixed voice?
    Thank u


    1. I don’t know, I didn’t watch Sixteen. I remember their names, they’ve asked about but I can’t say answer the questions just like that. To some people mixing is natural, to some others it needs to be taught as they’re more used to either pulling chest voice or switching to head voice. Someone showed me videos of Minyoung before:

      “She has some support being used but she pushes with her throat, her falsetto transitions lack smoothness and she’s fairly nasal.”

      “A bit flat and nasal in the beginning, she may be nervous and needs to work on breathing. It gets a bit better as she gets higher in range. 1:00 she has the habit of closing her mouth when singing lower and getting nasal and losing her resonance. Her runs are not very clean but they’re not too bad. There’s actually resonance from here. She is using a bit more chest in her mix and she’s probably not yet consistent with that so she tends to get a bit shaky, sound like she’s going to crack and even crack sometimes. She is not exactly straining because the placement is good and she’s not yelling out, the problem is that her mix isn’t totally stable and developed yet, so the C5’s lack the stability and development they need but they’re on the right track. She is just inconsistent with her habits, she is yet to fix many bad habits, like opening her mouth, being mindful of support, it’s like she’s taken vocal lessons for only a few months or about a year.”

      I’ve been asked about Jiwon when she sang Music is My Life, all three of them push a lot with chest voice without supporting enough in the fifth octave.


  8. So… I was wondering for an excellent vocalist for a male and female, what would be expected in the supported range in their head voice.
    Baritone and mezzo
    Soprano and tenor
    And how would A5 in head voice from tenor compare to a soprano??
    I wanted to know, since you showed in your analysis that Dong Ha has a very developed head voice that supports up to A5, and you also shows that Lena and Sohyang was able to support up to F6 in their head voice. I just wanted to know if Dongha and these 2 ladies are both compared as just developed or less developed ?? If that makes any sense?? I’m not good at explaining. And do you think Ailee would be able to support in the 6th octave if she was more confident in that higher range? Thank you!


    1. There’s no expected supported range for anybody’s head voice cause it’s such an inconsistent register in terms of development for pop singers, it’s not fair to judge them harshly on it. I think Ailee could potentially support C6, but she rarely sings up there. A5 for a tenor is very high, but I can’t give you an exact note of where that’d be in the soprano voice.


  9. Hello ahmin! I was watching mbc music core and came across this girl who seems like a good vocalist? was wondering if the high notes she does is any good or not, she does quite a lot in her song..

    especially the note around 1:49 sounds resonant? she does a ton of high notes and phrases till about 2:40 too

    thank you very much!


    1. Actually I’m hearing a lot of reverb but her singing seems tight. That note is projected and loud, the reverb helps but I hear tension. Higher too, it’s like not fully strained but the lingering tension is definitely in the way. Bb4 was that note and 2:40 E5, that’s definitely strained.


  10. Do you know if the performances on Immortal Songs have audio edited?

    I just saw this, and at 3:36 Hwasa is moving her lips but I can’t hear a thing.
    This and some other things makes me doubt if we can really trust these Immortal Songs performances.


    1. I heard her actually but it’s very soft. Sometimes they edit it, apparently. But many times it seems like it isn’t, cause I’ve heard many vocalists with pitch issues on Immortal Song 2.


  11. Hi Ahmin
    How could we know if someone’s mix is (too) heady, (too) chesty and balanced? Could you name some examples in Kpop (except Jihyo and Ailee)


  12. Hi, Ahmin. I have a question. Does the consonant “L” causes any issue in singing? What are the other consonant that we should be aware of? Thank you.


    1. Someone posted this before. The comments about him changing the melody can be disregarded cause I found out he was copying what bruno does in some of his live performances.
      “0:08 he lacks in openness a lot in this beginning, he sounds pretty tight and he is trying too hard to project and push his voice out when he could relax and open up the back of his throat a lot more. He is kind of emulating Bruno Mars a bit, which is not a very good idea. 0:15 the D4’s are better, the E4’s and F4’s afterwards on the next line are a bit too pushed. I’ve heard him be more opened. 0:35 too much air and slight tongue tension. 0:42 F4’s, again too much tightness. 0:46 A4 high larynx. 0:53 pushing way too much. 1:00 tightness and a high larynx. Also the English is causing him to use his tongue more than he needs to, which might be what’s causing him to sound tighter than he usually on a range below G4. 1:32 ~ 1:35 way too tight. 1:36 ~ 1:46 nice changes in the melody, really nice actually. 2:00 nice here too, this is less common with non-American born K-pop idols. 2:23 way too much pushing and a high larynx throughout. He has a very pretty voice. He has the Yoo Youngjin thing going on for him. 3:07 throatiness throughout, but nice melodic changes. 3:15 he even mixed E5.”


  13. I know that you are getting tired with these type of questions and I know that none of them are above average vocalists but who are the top 5 vocalists of produce 101 season 2


  14. hello i’ve got a question

    does singing from the throat bad?
    and how do you know you’re singing from the throat?
    and how to eliminate throatiness

    thank you ^^


      1. Yes, most of the time his singing, not his voice, is unhealthy. His voice isn’t a problem, the way he uses it is.


      1. He is using a bright mix, his throat is really compressed and he is pushing the note out with air pressure and the compression of the throat. I am not sure what kind of vibrato it is.


    1. Literally someone asked about this like this week. Should I make a vocal tip about this? lol I’ll copy-paste:
      “Theoretically mixing and belting are terms used interchangeably but the mixed voice is a balance of head and chest which can be monitored to be as heady or as chesty as you like. Belting generally means a chest dominant mixed voice only, but people use it for mixed voice of many different balances as well. It’s just belting usually means that you’re pulling chest voice up higher, which is less healthy than allowing the voice to mix naturally, so some instructors view it as incorrect and yes pulling chest without mixing is incorrect but a chest dominant mixed voice can be done in a correct and healthy manner. No no, pushing is a bad thing, never a good thing. Pushing means using a lot of air pressure to sing a note with more volume and usually higher without actually using proper support or vocal cord strength. It usually creates strain but not always if the vocalist knows how to support enough.”


  15. Is Adele a contralto ? I saw it in Wikipedia, I thought she was a mezzo ( sorry if not kpop related but this the first time a singer they I know is a contralto )


  16. Hi Ahmin, I have few questions:
    1) Can you support with a throaty placement or not?
    2) Chungha was in JYP before, so I wonder if she uses their air technique? She seems to support (weak but still) and sounds fairly balanced but her voice sounds really airy but developped at the same time…
    3) I don’t find your email in your YouTube channel… Can you post your address here, in your reply please?


    1. 1. You can have some throat tension and support at the same time, but if you’re full on throaty, then there is little to no support. I would maybe call it an attempt to support, but not “supporting.”
      2. She is actually very heady, not very balanced and she tends to be breathy in her lower. She just has a naturally high soprano range because she’s so heady, she can keep hitting those E5’s but her support tends to be shallow.
      3. I’d rather not post my e-mail address here. If you go on Youtube on an internet browser, then go on the about part for my channel, you’ll see “business inquiries” and you’ll find my e-mail there.


      1. Okay thanks!
        Talking about Chungha, I covered her song “Why Don’t You Know”. I know it’s not perfect (it was morning time so my vocals were a bit tired) but I think my low notes at the beggining were supported. The first belt wasn’t mixed at all so it was throaty, the second belt was good, it’s lighter than the other one and seems supported, I kind of cracked on the third lol but the vocal chords connection was decent and the fourth was pushed (there was some pushing in this cover ugh, my vocal chords were not connected at all, I didn’t do vocal exercises)…
        What is the range of the cover? Did you hear supported notes? Improvement since the last time (if you remember lol) ?


      2. I think I have expressed that I’d rather you not sing in a language you may not speak fluently. This isn’t bad at all actually, again I think you have a beautiful voice and you sound relaxed mostly throughout. The problem is that you’re singing a soprano down the octave and you’re almost emulating how she sings but down the octave and that’s not your voice. 0:47 that was actually not bad at all. 0:57 there was a bit of a lag with the mix here. Your pitch is good. You should probably do exercises, how can you improve if you don’t? I feel like you’re more sure of your voice, your pitch is a lot better because you’re not trying to do runs everywhere. I wouldn’t recommend upbeat girl songs down the octave to practice singing with personally, it’s not the most productive piece for you to practice with but you did pretty well. The range is like C3 ~ E4.


      3. Actually it’s really hard for me because I feel like I lack a male influence. I’d like to, but since all the male vocalist I like are tenor, I don’t want to sing their songs because my voice sits pretty low compared to them. I feel the most comfortable singing around F#2 to E4… Since it’s korean, I was pretty much copying her pronunciations lol I’m not that fluent in English, but do you have English male songs to practice along? That would be helpful 😊 I just don’t want to sing in my native language, I’m not comfortable in French even if my vowels are better placed. I think I’ll join a music club or something, because I lack confidence in my voice… I should do more vocal warm-up as well… Since you didn’t talk about support, does that mean that I had support (I think) but it was hindered by the fact I sung in a language where I’m not fluent in? Thanks for all your kind words and tips, it means a lot for me 😄 !!


      4. But you have such a beautiful voice! You did have support yes. No, it wasn’t a big problem with the language in your case specifically. I would rather you focus on male songs like Michael Buble for an example, but there aren’t too many baritones. Although I quite like David Choi as well, who is a baritone.


  17. Hi, I’m pretty much a novice on anything related to vocal technique, but I’m trying to get better and more knowledgeable as I have a few questions about some people’s technique and development that I really hope you can help answer or confirm my thoughts on it to see if I’m on the right track. Thank you so much


    For Sungyeon’s singing I had a few questions. Sometimes it sounds like she’s straining and sometimes it doesn’t and I’m not sure if I just can’t hear it properly or not. Does she have proper vocal technique in that regard? Is she singing with proper support? Also what exactly is the thing she’s doing in the last clip and is she doing it properly?


    For Kyulkyung’s singing, is she singing with proper support? Someone told me she was and someone told me she wasn’t and I’m not sure which is correct, but I don’t think she is, maybe for the mid range notes? It also sounds like she’s straining especially in “As Long as You Love Me”, but I’m not that good at hearing it so I’m not sure.


    It sounds like she strains her high notes a lot to me, is that correct? Also her lower register seems comparatively (in the kpop world) well developed, is that a fair assessment? I’ve seen people praising it and it seems good to me. Also again, is there proper support?

    Thank you so much again. I really hope you can get through it.


    1. I was going to be slightly overwhelmed by your comment cause it’s a lot. But after reading, I see that you’re working hard to learn and that motivates me to help you! Great job, cause I love specific questions where it shows you’re trying to learn.

      The thing that I hate about fans compilation videos of high notes is that since they don’t care about how the high notes are hit, the videos end up being 5 to 10 minutes of pure vocal strain. The thing with Sungyeon is she is a very Ariana Grande kind of case. She is a light soprano, who mixes with lightness and brightness. Her mixed voice is thinner cause she uses a more balanced to heady approach with a higher placement, which makes it easier for her to mix higher since she is not dragging a lot of weight up from her chest voice. Although this makes it easier for her to mix higher, or for Ariana, it doesn’t mean either of them are supporting properly. There’s a lot of compression in her throat when she sings higher and even with a bright mix she is fairly shouty. In Dreams in the beginning, she sounds fairly shouty throughout, but the brightness masks the strain away. 1:00 very shouty in Stand Up For Love, E5. 1:44 C5 to D5, again bright mixing, but there’s a clear shouty quality. It becomes more obvious on the D5, but the C5 is like that too. Sungyeon does have proper support, but she gets shouty when she sings above B4. 5:36 She is trying to do the Mariah Carey runs from Emotions, but Mariah does it in her whistle and she’s doing it in her tight falsetto. It’s thin, tight, pushed and shouty. She peaked at G6 as the highest note, if she were using an actual whistle, this would have been much easier. But since she’s trying to drag her falsetto up, it just doesn’t quite work.

      I see that all these questions are about Pristin. Oh wait, Kyulkyung is pinky? Pinky is CHINESE?! I had no idea. lol She does not support properly at all. She’s mostly just breathiness and shallow support. 1:42 is better but still fairly shallow. She doesn’t have a strong sense of support.

      Yehana is more connected than Pinky, but not supported. She is super throaty, even in a lower range she is fairly throaty. Her cover of Chandelier is full of throatiness, full of too much weight put on the vocal cords and too much pressure in the throat and differently from Sungyeon, her mixing is a LOT chestier and so she drags the sound up which makes her sound much more limited and closed by contrast. She doesn’t have the ease cause along with strain, that they both have, she also has too much weight in her mix. 0:03 Like in Stand Up For Love, she is placing her sound in her nose and throat, closing her throat a lot. 0:13 Bb4 I wouldn’t even say she’s relaxed here. 0:34 again very closed, she closes her throat a LOT more than Sungyeon and a lot earlier in her range. She also barely supports. I haven’t really heard her lower range to comment on it.


    1. I really like that you’re singing a song in Indonesian, instead of trying to sing in Korean. It sounds more comfortable and natural for you to sing in your native tongue. 1:06 that vibrato is way too strong, it’s too intense. It sounds like you’re moving the larynx. 1:19 There are a lot of F#4’s throughout. You are phrasing very nicely, the pitch is great and the 1:58 don’t put too much weight on second octave notes, you don’t need to be that heavy. 2:08 not a bad run idea, but the execution was slightly off. The chorus, you keep phrasing F#4’s and I hear a bit of glottal tension but it’s not too much of it so it’s okay. Try to relax your tongue a bit, stick it out when you get higher. You sing lightly which is healthy and you’re not pushing too much weight. You sound like you like R&B. There is very little tension on your F#4’s, I am not sure this key is right for your voice but this sounds like a tenor key but you don’t seem like a tenor to me. You mix too soon in your range, F#4’s sound too high for you for you to be a tenor but I could be wrong. I’d be interested in hearing you sing higher, since this didn’t go very high in general. The range was like A2 ~ F#4, which if you’re a tenor is barely a challenge. I actually quite enjoyed this, there were barely any technical issues.


  18. How can there be issues with vowel shaping? I had no idea until you wrote in your analysis that park hyo shin is usually singing with narrow vowels. Ock joo hyun’s vowel shaping is too wide. And ailee’s vowel shaping is whiny?? How do all three of these vowel shapings occur, how do you know whether the vowel shaping is singed correctly??
    And what does Ailee have over Son Seungyeon in their vocal technique? In terms of mixed voice, she’s much better than Ailee and it’s the opposite for head voice. And their lower range is about the same. But, son seungeon is better in breath control for dynamics, her pitch is better, Ailee is only better in runs/riffs? So I’m confused how she’s not better than ailee. And can you plz rank for the male and female vocalists in the good to great section plz? Thank u.


    1. Diction, not everybody pronounces things the same way. That’s why we have accents when we speak foreign languages if we can’t modify the way we shape our throats to match the natural way someone would when speaking in their native tongue. It has to do with the throat shape, jaw movements, tongue position, etc. If the vocalist projects with an opened sound, then their vowel shape is fine. If the sound is too wide, too broad and spread out, or too closed and thin, or if the sound is blocked, then there’s a problem. Ailee has her head voice over Son Seungyeon. If it wasn’t for her head voice, she wouldn’t be rated as high as she is. Son Seungyeon is not necessarily better in pitch nor dynamics, Ailee is perfectly fine with dynamics and both of them can off pitch. Son Seungyeon tends to sharp more so than Ailee, who may go flat instead. No I cannot rank males and females together. Son Seungyeon is not MUCH better than Ailee in terms of mixed voice, because although she is a lot better at shaping her throat and directing the sound in a more natural way as she moves up in range, the general idea of support isn’t too different for both. It’s not like Ailee supports up to Eb5 in her mix and Son Seungyeon supports up to F#5, the difference in support for both is a semitone. The difference is Ailee is a lot less opened and so her resonance doesn’t go all the way up to F5, but she can resonate E5. It’s not as free, but it happens. Son Seungyeon can support her head voice, but she’s produced resonance in her head voice. G5 to B5 is quite a gap, F5 to F#5 is not. So not only does Ailee have a better connected head voice, better transitions, produces resonance, has better dynamics in her head voice, but she also supports quite a bit higher. The difference in the mix is not as large as the difference between their head voices.


      1. Oh! That makes more sense then. Thank u for answering all of questions. Just one more question, sorry! In order to project a brighter placement in your mixed voice, do u exhale less air and pull instead of pushing the air out??


      2. No, not necessarily. It has to do with where your place the sound, not how much air you pull or push. You shouldn’t be pushing air to begin with.


      3. sorry to butt in you said the general idea of support isn’t too different for both i disagree on that especially on the 5th octave Ailee can be pushy like a lot in the 5th octave the diffrence is quite there even when ailee can produce a pushed resoance it done with a lot of effort SSY has more freedom , a bit more natural resonance from C#5 – F#5 , Hope SSY start devloping some consistent head resonance |even ali as a mezzo can support G5s


      4. Son Seungyeon supports with less pushing, but it’s not like Ailee doesn’t support at all. It’s true she has more freedom, but Ailee still has support and resonance. I stand by the point that the difference between their mixed voices isn’t as drastic as the difference between their head voices.


  19. Hi, Ahmin. I have some few questions.

    1. I am suffering from hoarseness, my throat really hurts even singing softly and there’s too much air in my speaking voice which is uncommon. How many days will it require to recover from this condition? Perhaps, do you have some tips for faster recovery? I regret belting way outside of my comfortable range for about a 4 days. 😦

    2. Does the consonant “L” cause any issues in singing? Specifically in projection?

    3. I tend to make this sound in my singing, https://youtu.be/2xrG_kPqpK8?t=1m58s. Are there some issues?

    Thank you very much.


    1. 1. What is the reason for this? Did you go a water park or a concert? Did you scream a lot lately? Have you not been sleeping enough? Have you not been hydrating enough? I usually would recommend a whole day of vocal rest where you don’t speak at all and drinking ginger tea to help your vocal cords heal faster unless you have a cold.

      2. Not if you focus the sound on a vowel, it shouldn’t get in the way if it’s in the beginning of a word nor towards the end.

      3. What sound are you talking about? Chesty pushing with air pressure where the vocal cords let go of the stretch while air is still pushing out so there’s a quick crack-like break in the voice? That’s not a very good way of singing. Nobody in ASTRO has shown proper support to me so far, so I wouldn’t recommend singing that way.


      1. 1. I sang continuously like Sanha(on his performance I linked before) did for a long time. I tried belting sustained notes around G4 – Bb4 range with heady approach but I ended up like this, I am a baritone btw. Do you think pushing with air pressure seems to be the culprit?

        2. I don’t have colds, how many days should I keep drinking ginger tea?

        Thank you for your fast response.


      2. 1. Isn’t that a little high? It’s okay about the comments.

        2. I would suggest always drinking ginger tea, it’s good for you! lol


  20. I finally have a really interesting question. Do tenors + baritone / soprano + mezzo get judged on head voice equally? Since they are different in mixed and low notes. if a mezzo soprano support A5 head voice does that make her better than soprano who support A5 since she has a Natural low voice


    1. Oh definitely. Just like everywhere else we judge them separately. Judging a soprano C6 equally to a Baritone or C6 or Tenor even Mezzo just isnt right lol.


  21. Olá Ahmin,Doyoung e Taeil fizeram um cover de the little Prince,qual vc achou q foi melhor?.Se n puder ouvir toda,oq vc achou da High note do Taeil aos 3:14


    1. Qual eu acho melhor o que? Entre o Doyoung e o Taeil? Não tem grande diferença na verdade. As transições para voz da cabeça não foram super limpas, mas foram de boa. 3:14 não tem muito o que fala, ele nunca mostrou apoio acima de G4, então cantar Bb4 e depois adicionar Eb5 in voz mista foi bem desnecessário. Nenhuma das duas notas tem apoio.

      “Not going to lie, I have been feening for them to sing live. So right off the bat I noticed that Taeil is singing with a lot more connection and closure than DoYoung. I don’t really get why DoYoung is being so airy; he’s not really singing terribly low. For some reason he’s not really supporting his voice very well. @2″20 when he goes for the G or something his voice pops forward a little bit and then it goes back to fuzzy, but @2:32 he actually was supporting his voice and sang a pretty nice F#4 I think…I am terrible at notes.. Taeil sings something similar and his voice is just projecting a lot more like it’s more forward and supported. Oh so @3:23 that is sloppy that Bb4 then jump to Eb5..yknow congratulations to him for doing that jump without cracking..but yeah just not supported at all. Doyoung is killing me with this lack of projection..hmmm I wonder if this is actually how he sings..

      So sorry if this was messy, but here is a clearer version.
      So, DoYoung throughout the performance really was lacking projection his voice was fairly airy and just didn’t have a lot of foundation, know as supported. His F#4 was nice that had some projection and support, not sure anything much above that because they were quick. Uhh yeah. Also he moves his jaw a lot when he sings.

      TaeIl projected pretty well throughout he keep his sound forward and focused also he supported it for the most part. Umm I can
      t recall any high notes he did except for the Bb4 and that was nasty, but you knew that. Umm yeah, I am looking forward to hearing more from them.”


    1. The easiest way to create a smooth transition into your head voice, not falsetto I would hope, would be to slide up and down through the range in which you would transition and slow down the transition. If your voice cracks, let it. Then go up and down everyday a little bit slowly, to create the muscle memory you need to make it smoother. Just always slow it down.


  22. Hi, I have a question. Is the bright quality of the voice something that can be achieved or natural? Because whenever I hear my records it always feels so dark and dull… Like some vocalists just strain their high notes but they are somehow still more appealing because of the brightness and easier recognition of their voice. Btw have you heard new songs from BP and MMM? Seems like there’s no change in the technique of vocalists of both groups?


    1. Yeah it’s something achieved through the right muscle development and placement of the voice. I heard Mamamoo’s cause my friend showed them to me yesterday, I didn’t hear Blackpink yet.


      1. Can you explain more about brightness? I’ve known a little bit about muscle development (maybe), but where should I place my voice so that I could sound bright? Thanks in advance ~~


  23. How is Stellar Hyoeun ? Stellar’s about to comeback. Hopefully they can succeed this time around .They crowdfunded this comeback again and they added a vocalist too . If they get a little famous they might get on some cable shows and Hyoeun might have more materials . Is HE a typical girl group vocal who is average and so so or is she like Hyunyoung from rainbow who is not exactly bad but at an ok fine level ? =3


    1. I won’t rate a vocalist without an analysis but she can’t produce resonance so that should tell you something. It’s unfortunate how little material there is available for her.


      1. Oh so its like that . I saw her singing the anthem somewhere on youtube so I thought may be she’s got a little skill but it seems to be on the contrary then .


  24. Hey guys, sorry if this is a silly question, but here it goes: Is resonance not important to evaluate the development of female vocalists’ chest voice? I mean, there are always commentaries about resonance in mixed voice and ocasionally in head voice, but I don’t remember reading anything about resonance in their lower ranges. Sorry if this is a dumb question and sorry if my question are harsh or unpleasant. English isn’t my first language, so I’m afraid I might sound a bit… “aggressive” (or something). And thanks for the answer in advance.


    1. Your English is perfectly fine dear. Lol you don’t seem aggressive. Lower range resonance isn’t as necessary for projection in pop music so we don’t judge it very harshly, but it’s important. It’s just not common for males or females, so we are less rigid with it.


      1. Oh what I was going for was that we have mics, so usually people sing softly in their lower ranges and when they want to project, they just use the mic to project better. But yes theoretically mask placement would help.


  25. This is a video of pd101 Kim Yongguk singing

    Is he a baritone? I hope it’s true bcs finally i can fulfill my need to have a bias who is a baritone lol (all of my bias are tenors, what a hoe 😂😂)
    About his support, hmm, no need to talk. At least his voice is not that ruined (he wasn’t forced to sing some HIGH NOTES). For a person who has watched all of the episodes, i can’t help but cringe and cried for my boys. Wait, do Lee Seokhoon and Shin Yoomi support? 😏


    1. I don’t know Shin Yoomi nor Lee Seokhoon well enough to talk about their singing. I do think he might be a baritone, yes.


  26. Hey! Okay so I’m back here and I apologise in advance for another Produce 101 related post, I know you’ve been getting bombarded with those recently lol. I heard that you guys weren’t keeping up with the show this time around so I’m here to provide videos as usual. So, the final group (male IOI) was formed last week and Kim Jaehwan is one of the two vocalists (a la Sejeong and Yeonjung) and imo the best vocalist in the competition (of really underwhelming vocalists with most male idols focusing on rap these days). To me, he just sounds like he has better ease and is one of the only ones on the show who actually supports. There’s tonnes of material on him because he won God’s Voice last year and was on Korea’s Got Talent too.

    So this is a performance from last year at God’s Voice. In the note from 2:21 to 2:29, does he exhibit that unhealthy habit of providing resonance by moving the jaw? Also, how is his overall pitch and support?
    Also, additional video of him singing Skyfall. Not the best song I know, but still.


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