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.

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





6,285 thoughts on “About & Our Criteria

  1. How about Xiumin’s support in that song? I think he shows some sign of support. Is his support strong or weak?
    I think someone asked about this per. already but I don’t know how to search in that blog.


    1. Ah…. I just want to add something relating to the song Saldaga.

      Could you please give some comment about his vocal technique. He’s a phenomenon in I can see my voice


  2. Hi(: Sorry for disturbing very early in the morning with another question.

    I read somewhere recently that on his days without schedules EXO’s Kai does up to 3 hrs of vocal lessons. If after all that Kai is still a weak vocalist would it be because they teach badly, they teach something different in vocal lessons that aren’t about technique (idk maybe improving his tone?) or the lessons don’t let him improve but just keep him warmed up or Kai isn’t able to improve quickly without more lessons at regular intervals. Sorry if long question, I’m just curious as to how he can still be weak after all that SM standard vocal training.



    1. I can’t say without hearing and watching his vocal lessons. The vocal instructor may be the problem, his practice may be the problem. 3 hours a day is a bit excessive and if done improperly they reinforce bad habits. It’s all speculation and I can’t be sure without hearing it.


    1. This is a studio track, not a live recording. Also she is a main rapper and a sub vocalist. You always comment on our future analyses list but not really on any of our analyses so I’m not sure if you’re familiar with how things work, but assuming I’ve replied to you and analyzed videos…you know how things work. So…I’m going to be brief because she’s a sub-vocalist and she’s not going to be analyzed. She has a pretty voice, but she is singing with airiness throughout. She is almost whispering, singing with a falsetto and an airy chest voice. Most of her tone production is with shallow improper support and almost no proper connection between her vocal cords. If her vocal cords aren’t connecting, she’s not supporting well. She doesn’t sing with proper basic breath support, doesn’t connect her vocal cords, has no dynamics, is barely even mixing…This is pretty, she has a pretty voice. Aesthetically, it’s pretty, but technically it’s limited, dynamicless, no support, no true placement…She is a weak vocalist, simply put. Like every other sub-vocalist of every idol group that I know, she is a weak vocalist. So I ask that in the future you don’t post videos with sub-vocalists. Thank you and I hope you understand.


      1. Did you think she did okay in that or no? Nothing super in depth, I’m sure you have other things to do than reply to comments lol. I think she did okay on all her performances, I liked YangHwa bridge the most.


      2. It wont let me reply to your other comment, but I did mean the performance in general, but if you don’t have the time to watch its no big deal. Thanks for answering!


  3. hi ahmin. I know your request list is no longer added but i can’t resist my curiousity, especially i caught this video 4 years ago.
    Cha soo kyung is exceptional cuz she’s one of a few singers using whistle with wide range like Mariah Carey

    i think she controll them better than Wendy, is it right?

    Another example, she switches among chest register, upper chest and upper extension a lot https://www.youtube.com/watch?v=0JkyVX537i4

    Can you give a very quick analysis about her? Thank u so much


    1. Exceptional as in special? Perhaps. Exceptional as in skilled? Maybe not so. Wendy doesn’t really use her whistle to sing so yes it is better than Wendy’s. Only Dia, Wendy and Ailee showed whistles and only Dia used it musically, amongst idols. Cha Sookyung sings like filipina divas actually, I hear a lowered larynx in her lower range, a lot of pitchy runs, a lot of growling, a high larynx in her whistle register and in her mixed voice. She has a lot of potential range, but she just approaches it with pushing air and manipulating her larynx position. Her mixed voice is tight throughout. Her whistle is really strained actually. She tries too hard to sound like prime Mariah and so she doesn’t sing with her real voice many times. My All is a lot better than Emotions though, a lot less straining, a lot less pitchy runs.


  4. Hey, random question, but do you have any idea why some famous pop singers who are known to have vocal coaches seemingly don’t improve? Like Ariana worked with some vocal coach named Eric Vetro and her vocals seemed to have only regressed? Is this more just a fault of the singer or the vocal coach? Or do you think there are a lot of “bad” vocal coaches out there? I’ve noticed while vocal technique for contemporary singing is somewhat standardized, but it’s not quite like classical singing where the vocal technique/training seems much more standardized. Because of this, it seems like there a lot of people who “sound nice” singing but have no idea how to train a voice but still become vocal coaches because they “sound nice” while singing.

    I know Sohyang took some lessons with Seth Riggs, but definitely some of the singers he has taught don’t seem to be particularly good vocalists at all. Is it a matter of the student or coaching that you think is the problem?

    Also, another random question but are growls/grunting in singing healthy? I notice a lot of people say Beyonce is someone who properly growls with good technique, but knowing how much misinformation there is out there about vocal technique, I want to know if there even is a way to growl in a healthy way. Thanks!


    1. It’s a mixture of both. I’d have to hear how she’s taught but if you look at Jojo for an example, she had a vocal coach for sometimes and almost nothing got better in her vocals so she switched and got a new one and suddenly, her mixing, agility and everything else improved a lot. So not all vocal instructors know what they’re doing in terms of theory. Some just do it by instinct, which works for some people but won’t work with everybody. This is why even though people say Kim Boa and Solji were vocal instructors prior to their idol debut, for instance, Solji especially was the instructor of all current members of EXID. Even though SHE knows how to sing somewhat correctly, she was not able to pass it on to the other members of current EXID. She may know how to do it, but she doesn’t know to make someone else do it. That’s because it’s likely she learned by instinct and not theoretically, so she doesn’t know why she knows how to sing somewhat correctly, she just does it. So yes it’s like you said, it’s supposed to be standardized but there are a lot of people out there who don’t know what they are doing, even classical instructors are victims of this and teach some students incorrectly, namely when they teach them under the wrong voice type.

      I think it’s a matter of method and methods that honestly do NOT work for everybody. Every student is different and you HAVE to know how to address each individual student differently instead of thinking one method will work for everybody, which is the problem with SLS and many other methods of teaching singing.

      Growls CAN be done in a healthy way if they’re not too forceful. If they’re stylistically, there’s no real problem with them. There is a way but honestly I’ve never learned it and I figured it out myself, but when I used to do it I used to use my vocal cords to do it, which hurts. I think the proper way is by using the false vocal folds above the vocal cords, which isn’t harmful. I may be wrong though.


  5. Since Seulgi’s analysis isn’t here yet I wanted to try analysing her performance since Idk much about her technique.

    I think she’s supporting fine first of all. 0:26 kind of a shaky vibrato, I think that means her support isn’t fully developed but it’s still there. 0:31 slightly pitchy/messy run, and she’s starting to get nasal too. 0:39 supported A4? (I’m not sure about the notes) 0:42-43 high larynx, 0:59-0:51 high larynx 1:04 unsupported low note (I’m not sure how you do it when the notes are mostly air) 1:09-1:12 it sound supported but not open enough maybe because of the vowel. 1:12-1:13 very strained. 1:18-1:25 all of that is very strained and tight/closed and the run at 1:19 was messy. She did something wrong at 1:22 idk what it is 1:30 messy run again. I know you said to include but I thought I would embarrass myself with how off they might be. Also is she more of a chesty vocalist, I think so.


    1. Okay let’s see this. 0:13 mention the G3, it was very muffled and lacked clarity of tone. 0:31 the trill wasn’t bad at all, it was just the air she used by singing memory-heehee instead of memorryyyyy. The air she added with the H was what she used to find the pitch, not her vocal cords. 0:39 yes supported A4. Her phrased B4’s aren’t bad in this to be honest, although again her support could be much stronger and a lot better engaged. 0:54 now this run was pitchy. 1:06 unsupported G3’s, again don’t ignore her lower range, the pitch was there. lol 1:22 what do you mean exactly? I wouldn’t call her chesty, she is in her throat but isn’t very chesty or thick. She’s throaty but kind of light throughout. Good job though for the most part, just be careful with hearing low notes and runs otherwise you hear strain, but pay attention to details.


      1. Thank you! I think because low notes are kind of just passing air, I miss it really easily. At 1:22 it’s like it sounded worse than the other maybe it was more nasal idk? And did you agree with what I said for 1:09 to 1:12?


      2. I don’t hear anything particularly different about 1:22. 1:09 I hear an attempt to support and to place her voice, but it is a closed vowel and she is pushing to make her voice louder.


    1. Contratenor é um termo que pode ser argumentado e não é fixo. Pode ser um homem com uma voz aguda e feminina ou com uma voz da cabeça bem desenvolvida. A gente prefer não usar o termo em pop.


  6. I know it’s not kpop related but if you’re already familiar with them could you give me a quick opinion on Scott Hoying and Mitch Grassi from Pentatonix? Thanks


    1. As far as I know they both have very good technique in their mixed voices and really good agility. Scott can produce resonance up to F#4, he’s a baritone. That’s all I know.


    1. It’s been done so I’ll copy-paste:

      “Rosé started off singing with a nasal placement, barely opening her mouth which caused her sound to project from her nose. 0:03 that note was flat. She is singing around F#4 and G4. She sounds fine but she is not opening up her mouth enough, so she sounds very nasal. 0:17 she likes to let her vocal cords come apart and crack a bit for air to come through stylistically. Jisoo’s harmonies are nice. 0:33 and 0:38 she is singing A4’s, where I hear a bit of the grabbing of her throat muscles around her larynx. She is pushing very slightly. 0:43 Jisoo is flat, tone wise and pitch wise. She is barely supporting at all, she is mostly flat and her throat isn’t very opened so her sound isn’t projecting very clearly. Rosé is a lot brighter in placement due to her nasality, but Jisoo’s tone production is very shallow. Her English diction makes her sound nasal too. This song isn’t very challenging at all but it was nice, the harmonies were the best part. Aside from that, it was a fairly comfortable range and it doesn’t really show anything special for Rosé, especially not around A4 since that note is a bit low for her to show any sort of tension.”


    1. It’s atheistically pleasing, it sounds pretty. Technically speaking all she’s doing is using a slightly high larynx position, a somewhat relaxed approach to her singing but she’s very airy and a bit too much of air is coming through her vocal cords. She is also a bit nasal throughout. She’s only singing as high as A4 in her mix, which mostly sound relaxed. A bit too pushed with air at times, but mostly fine.


  7. hi! would you mind giving a short analysis of this video? the girl on the left is shannon, the main vocal of pledis girl’s new girl group PRISTIN and the girl on the right is pinky from ioi (remember those A5’s from whatta man)


    1. Finally they changed the name to something other than Pledis Girls. Pinky is not a main/lead vocalist, is she? Cause she has very shallow connection in her vocal cords. I hear mostly airiness and a lack of support. She isn’t really supporting properly, she is mostly relaxed but airy. 0:53 D5’s in falsetto for Sungyeon, she sounds fine throughout, this is just soft singing, with airiness in a very low and comfortable range. 1:24 airy unsupported G#3. 2:21 her falsetto is almost like a head voice. 2:38 nice harmonies. 2:54 G#4’s, fine, not strained. 3:06 a bit of tightening of her throat on that quick C#5. 3:22 Bb4 seems supported. The runs are fairly simple, there’s a lot of stylistic airiness, some fairly simple nice harmonies, nothing really challenging but nice for Sungyeon, a decent enough amount of support without tension.


  8. ok so you guys have previously mentioned that ariana grande is overrated (agreed) & jojo is underrated (agreed x2000 have u listened to her new album???), but im curious as to how you feel about tinashe’s technique? idk if you’re familiar with her at all tho lol


  9. Pinky is actually their main dancer! Her nickname is “China’s dancing machine” lol. Thanks for the analysis, i can’t wait for their debt


  10. Ahmin how did I do here ? I’m still a guy singing along with a girl LOL !

    Btw what I know for sure is that I’m DEFINITELY a Baritone. When I sing Jaehyun’s parts I sound EXACTLY like him in terms of fullness. The flatness during Taeil’s highest parts in the Bridge is also a dead give a way. Well, maybe if I hadn’t sung this song over and over for 10 times I could’ve done better (yes, this audio is the tenth take).

    What are the flaws in this cover ? List all of them especially the minor ones please. Did I support ? All the ad-libs were done by me so I guess they really wore me out. I felt EXHAUSTED at the end of this song LOL.


    1. I mean this is a vocal analysis blog and a lot of this is kind of…rapping, so I am going to skip those parts. 0:37 These parts are kind of generally flat, pitch wise and in tone. The back of your throat is closed, your soft palate isn’t lifted, so your tone sounds flat and closed. You aren’t breathing properly nor connecting your vocal cords, so your falsetto is also fairly flat. You are kind of using your throat the whole time when singing, it’s hard to tell. You are using a lot of range, but there’s just a lot of rapping in this…and like it’s not a song I would advise anybody to sing when they’re learning to sing to be honest. Your timing seems a bit off too, I don’t know the song but you keep being slightly behind the beat.


      1. Yay ! Thank you for finally replying ! I’ve always thought how I sing seems blocking the tone from coming out entirely, hence they always sound stiff and blocked. I’ve always used my throat and my mask placement really isn’t good.

        It seems that my soft palate not lifting, me using the throat and the placement not being correct has to do with the fact that I’m never confident in my ability to give my full potential vocal-wise. Whenever I actually sing better, I feel kind of weird. This song is also, like you’ve said, primarily rapped and the range I sing varies, so it’s not a really good song for practice. Do you have any Baritone songs that may help me to isolate the throat, high enough for me to lift my soft palate and place my voice well ?

        Regarding the breathing, it’s actually the thing that I work on the most. I’m always breathing in this song and you can pretty much hear that I always inhale. Maybe the problem is the support, not the breathing. Whenever I sing, I always feel like no matter how much air I take in, it’s never enough. We may go back to when I say that I’m not too confident with my voice, this might have influenced me to support too shallow for myself aswell as not using the air that I actually have.

        In addition, when I actually try to concentrate on placing my voice well high and not use my throat, I tend to worry A LOT that I don’t have enough air, so I always concentrate on supporting and breathing…

        Falsettos have never been my strong points, I’ve never learned how to sing them properly. I’ve only been training my lower mix and my chest. It’s so embarrassing to struggle especially at the “Oh baby it’s YOU” where pitch is loose.


  11. I see a person on Facebook said that if someone can’t used head voice, she (or he) can not develop whistle register. Is it correct? Because I know Mariah Carey usually use falsetto but her whistle is very nice (although sometimes her airness bothers me)


    1. No that isn’t true. The whistle register is completely separate from the head voice, if you can use the whistle register you can train independently from your head voice.


  12. I hear some people love growling in singing, but they sound like they squeeze their throat and their larynx too much to produce a very forceful growling sound. Could you tell me how our larynx work when we growl? And how to growl properly?


    1. I’m not sure entirely. I believe it’s similar to the vocal fry register, where the false vocal folds above the vocal cords rub and create a grunt sound. The improper way to do it is by using the vocal cords to grunt. I’m not 100% sure though.


  13. Hey didn’t you see my comment with my cover to NCT 127’s Limitless ? :(( I’m not asking for a really deep analysis, just asking you to point out minor (and probably major too) faults in there


    1. Have you ever shown me your singing or this your first audio? I’m sorry but I missed this recording, but I found the comment and have kept it there for me to reply later.


      1. I’ve shown you my singing with BTS’ Butterfly 🙂 you told me that I sound like a Bari and that I was too airy whilst singing that obvious Tenor song ! 😄


  14. Hi ahmin! So is the way to determine if someones lower reister or head voice is better than anothers is through looking at their supported ranges? like do other factors have an imact in the decision of if a lower register or head voice is better than anothers? Thanks in advance!


  15. Hi Ahmin, I’d like to ask you a question not related to K-pop. I’ve seen you helping a lot of people for free, and I’d like to know if any of these people that you’ve helped online improved by themselves? I know a girl who tried to improve by herself but she ended up giving up since she only watched youtube videos and there was no one to help her. I guess a lot of people give up too, right? Thank you in advance.


    1. 0:15 ~ 0:42 the range is B3 ~ G#4, where she supports just fine. Her placement is fairly nasal and her diction closed, so she could sound a lot fuller and more opened. Her transitions into falsetto B4’s in the chorus as well as D5 are mostly fine, not 100% smooth but adequate. Again just falsetto, no head voice. 1:10 supported A4, not badly placed but again pushing in the throat. 1:30 1:34 1:37 these A4’s are nicer, more opened. 1:38 there’s support on the B4 but it could be much more opened. 1:54 pushed high larynx and tight D5, she can push with enough volume. 2:04 somewhat whiny B4’s. She has a lot of issues with openness.


  16. Hi admins, can you give me some detailed thoughts on my recording? I’m kinda having a sore throat today and I find very few spots in my recording without nasal but I hope I can find out more about where to start improvement. Thanks a lot 😀


  17. Hi admin, I wanna ask something about this vid…..
    What note did jihyo hit at 0:50 (shi”PEO”), 1;17 (mal”GO”), 2:59-3:02, 3:09-3:11 and is it supported?
    Thank you ^^


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