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 K-POP idols there is NO ONE who is considered Excellent/Amazing/Fantastic vocal-wise. They are Great/Good at best.

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

OneHallyu vocals’ thread






9,526 thoughts on “About & Our Criteria

  1. Is it correct if I say that this guy (Jihoo from IZ) doesn’t support? Or is at least very shallow?

    At first I thought he sounded quite nice but then he’s practically drowned in Yuju’s voice despite all of her nasal-ness, So after that it sounded as though he didn’t really project well and he’s singing from the back of his throat. And his falsetto is just sad…his mouth is open but there’s barely any sound LMAO.

    BTW, is 2.20 resonant for Yuju?


  2. Hi Ahmin! (Ack, I’m here again 😭😂)
    I decided to try out belting because ever since I’ve started singing as I hobby, I already found belting to be a difficult feat for me. This video will surely (definitely) have a lot of issues (I’m not even sure if I actually belted the notes or not 😂), but can you please point them out clearly so I will know how amd what I can work and improve on? Thank you so much, and as always, I’m soooo sorry for the trouble. 😂


    1. You’re pushing too much air and you’re tightening your throat a lot, squeezing the back muscles of the throat. If you pay attention, you can hear how there’s air passing through the vocal cords and how your tone changes to really small, thin and light very suddenly. Why don’t you try working on your range step by step, don’t try mixing F#5’s so harshly when C#5’s are already an issue and show tension. Try to be patient with your self. Use the exercises in vocal tips #8, I’d say, if you aren’t doing so already.


      1. You actually already adviced me on that, and I’ve been doing the exercises for the past couple of days. Although to be honest, I can of slack off a lot mostly because I’ve been a little busy with school. I’ll try harder though. Thank you very much!


    1. Hi there!
      Next time you post a video like this, please provide a time stamp so that I can answer your question more efficiently. Unfortunately, just as I expected, Sowon is a sub-vocalist; thus, like many other sub-vocalists in K-pop, has not developed a sense of support in her singing yet. This can generally be heard even in the short snippets she sings in GFriend’s songs. In this, since it’s longer, we can hear her lack of vocal development more clearly. What I hear mostly is a lot of breathiness, her vocal chords are not fully connecting properly, and she’s quite pitchy throughout. If you listen to the chorus, you can hear that she is generally flat throughout. This is why we generally don’t analyze sub-vocalists.


      1. ” her vocal chords are fully connecting properly ”. I don’t really understand this, I mean if she was breathy, how could she connect her voice chords properly?


      2. lol Sowon is a weak vocalist, but how about placement? Does she have proper placement or she places her voice in her neck position?


  3. Hi! I noticed no one’s done a vocal analysis of Chanyeol, so I decided to do one myself. This is the first time I’ve done a vocal analysis, so I know it’s got some flaws, but could you please listen to at least a little bit of it and tell me if I got some things right? Thank you!

    Also yes, the analysis focused more on his positives than his negatives, because I didn’t want to upset too many Chanyeol stans lol


    1. Hi there! Well that is a very noble thing you’re doing as a fan and I think it’s a valuable way of showing your support for a singer, but it can be dangerous to talk about things you may not be 100% sure about. For the most part, it is mostly positives and I see why. 0:54 I wouldn’t say that he showed proper breath support as although he is connecting, so not breathy, the quality is a bit more so in his throat than not, so he sounds fairly throaty/shallow? 1:00 Oh no no, major red flag. Do not use the word resonance so loosely. Chanyeol does not produce resonance. In order to produce resonance, not just placement and openness have to happen, he has to have proper breath support first. I also wouldn’t call C3 very low, especially not for a baritone. He has tone connection and he projects, but his support is shallow and does not produce resonance. He is not nasal, or too pitchy, that’s correct. 1:05 Oh no, please do not include that there. We wouldn’t call Chanyeol an average vocalist, which is why he wouldn’t be analyzed. I’d rather you not quite us on something that we don’t agree with. In the past I thought there was a chance he could be, but without a full analysis I couldn’t have been sure and the more I listened to him, the less I thought so. Any comments about support onward, I do not agree with. But about projection and chest voice being his strongest developed registers, that’s fine. 1:37 If he’s straining, his larynx is not neutral. Sure there can be instances of tension where the larynx isn’t necessarily high but strain? No, the larynx can’t be neutral if you’re really straining. 1:55 Runs are actually only harder not if you have thick vocal cords, but if you sing in a heavy way. That’s more of why he’s not good at runs. Also cause he uses his throat muscles too much. 3:12 I wouldn’t say singing in different languages makes you versatile, but singing in different styles does yes. 3:29 It’s a connected projected C3, it has a degree of support but it isn’t fully supported and definitely not resonant. And again a baritone’s tessitura sits lower than a tenor’s, so a baritone supporting C3 wouldn’t be that impressive. I think you did do a good job overall, but you simply lacked clarity and precision in the meaning of the terms you were using.

      Liked by 1 person

      1. Thank you for taking the time to review my video! I went through your comments and fixed my video. I’ll admit, after spending so much time on it, it felt disheartening to see all the mistakes I had made, but I learned a lot and am more prepared for this sort of thing in the future. Thank you again!

        Liked by 1 person

  4. Question, when a powerful singer such as So Hyang/ Beyonce sings a pop song they aren’t singing using that powerful voice in that song. Are they hurting their voice by using a different tone (Rose/Park Bom) or is it more of they are just tuning down the level?


    1. Singing softly is not damaging to the vocal cords whatsoever. Straining is. If these vocalists are singing with stylistic choices that can be turned on and off, then it’s fine.


  5. What does it mean by larger resonance? It’s not the same with full resonance, right? Because I read somewhere in this site mentioning chesty mix or voice type, and the two phrases don’t seem the same. Larger resonance doesn’t necessarily imply better technique, right?? Thanks!!


    1. Full resonance just means that the resonance is round and opened, larger resonance is usually used as a contrast between two types of resonance since there’s a comparative word being used. Larger than someone else or larger than previously. It generally means louder, rounder by contrast.


    1. She does have some degree of support, but also a lot of breathiness. She is using head voice more on Sketchbook though, I’m surprised. She usually goes for falsetto and she doesn’t sound as tight as she does in studio. Her vowels are a bit too tight and I do hear tension around B4, less than in studio though. I don’t hear resonance being produced due to lack of openness.


  6. Hi ahmin,idk if you watched this video yet, but mind to tell your opinion about nct jaehyun’s voice?

    As a fan, i feel like he improve so much compare to his singing 2015-2016 era. I hope i’m not biased and he really improving.
    Have a nice day ahmin (*^▽^*)


    1. Someone asked already so here it is:
      “I really appreciate the time stamps! 1:22 For a baritone, he drops support/projection around C#3 too quickly. 1:26 D4’s do keep some support, E4 he loses support though. Jaehyun has always been known by us as a vocalist who supports. He is not lowering his larynx, he is just becoming very quiet and breathy too quickly. 1:30 ~ 1:53 some of this is mixing, but there are falsetto parts. Their blending in the harmonies isn’t bad, but Jaehyun is not placing his sound in a similar enough way for them to blend as well as they have. 2:51 C3’s, these are better. I feel like he drops support in his lower range somewhat stylistically but it still sounds weaker than I’d expect from a baritone. I’m not usre what you mean by “does this song justify him being a baritone?” do you mean if it’s written in a baritone range? Yes generally it is.”


  7. Hi, I love your blog ❤
    Can you please analyze the high note on the new song of BTS? It's done by Jin, (who I guess it's the weakest singer of the group, right?). I was happy that they let him do the high note this time, and as I liked it when I heard, I want to know a professional opinion. Is it good or bad? He starts singing by 3:40 and the high note starts around 3:44 – 3:45. He does a triple high note too at the end, I wanted to know your opinion as well, It starts at 4:07, it's behind Jungkook's singing. Here's the link:

    Thanks so much ❤


    1. That’s a very pushed squeezed strained head voice at 4:07 E5 F5 and G5. And 3:44 its G#4 to Bb4, in his mix but very shouty and in his throat. Again it’s not realistic to expect Jin to produce well supported high notes when he’s yet to show support anywhere in his voice at all. I’d be more interested in hearing him singing well within a comfortable lower range than high notes, for now.


  8. HI!
    i know you dont like answering any pd 101 but i just want to know how seongri did in this. i can hear openness at some point and round tone, i dont know if im right but does seonri support?

    1:15 and 2:18

    Thank you in advance


    1. I think he supports but his vowels are really narrow and a bit too inward so the sound is often kind of blocked and he’s pushing to project more so than opening his throat and placing his sound.


  9. Hi, Ahmin! Long time no see? (but not really hahaha) Anyway, we recently had this mini recital to promote a summer music school I joined ages ago to learn piano (which I eventually quit) and the teacher said he’d give me a singing spot, although he didn’t evaluate my singing. If you don’t mind, would you please evaluate it instead? XD Sorry for the trouble and I’m even more sorry for my performance on this video since I only had about a day to practice. Thanks again and happy holidays!

    Here’s the link:


    1. This is really good actually! Your approach was so smooth with very little pushing. Some C5’s after the 3:00 mark were a bit too pushed but aside from that you did really well! Could’ve placed the lower notes a bit more forward but otherwise very good!


      1. Thank you very much! My issues are quite consistent hahaha. Placement of my low notes, pushing when singing higher. I’ll be sure to work on those. I hope I get to improve, though, hahaha. Again, thank you very much for the response! ^_^

        Liked by 1 person

  10. Im wondering about a thing. In one comment you wrote about Ha hyun woo lower register being full of vocal fry, what is vocal fry? is it good or bad?


    1. Vocal fry is a disconnected register like the whistle register or falsetto register. It is a slow rubbing of the vocal cords and it isn’t bad, but it’s not part of the modal voice, therefore it can’t be considered a full developed chest voice nor part of one’s supported range.


  11. Hi, it’s me again. So I’ve been trying to take time to do vocal exercises, and I’m not sure if I have improved or not. I feel that I lowered larynx around A#2, and I start to lose the relaxation (I don’t know how to describe this) around G#3 or so.
    And I also have a question, what is the main difference between classical vocal training and pop music vocal training? Because I have been on many different websites about both type of training lately (I don’t remember any of them since I just googled everything) and all of them do not have any term in common. Like I’ve been trying to explore the vocal technique of Us Uk vocalists online by myself and one website says that Lea Michele is a mezzo – quite surprised and unreliable for me at the same time.



    1. Hi there dear. Okay so I’m hearing your tongue sliding back on the second to lowest exercise, both times you did it. I don’t hear necessarily tension for the most part but you’re barely engaging your vocal cords. You’re too soft, you’re letting too much air through and throughout there’s a lingering breathiness. Some random Ha’s coming out, you’re not exercising your vocal cords enough.

      Classical vocal training for higher voices females is usually focused on mixing by bringing down the head voice, blending it and making the vocalist mix with mostly head voice and sing almost exclusively in head voice. The larynx is in a low position, to allow more space, more resonance and to be able to project over an orchestra better. In pop singing we don’t need that cause we have mics so our larynxes até neutral in position, or so, the mixing is closer to the chest voice, and we can use things like breathiness or different sounds because we have mics, we have more stylistic freedom. These are some differences.

      I don’t know what you mean by they don’t have terms in common. Lea Michelle is not a mezzo.


  12. hi ahmin, i try to catch up as much as i can with the comments but haven’t seen any about sf9.

    as i don’t want to take much of your time, i chose a compilation video with their live vocals and chose some notes that i would like to know what you think of.

    these are the moments for rowoon:


    and these are for the main vocal, inseong


    there is another vocalist whose position in the group is ahead of rowoon but all of his notes on the video seemed quite airy so i didn’t find anything special


    1. for 0:43 would be the A4
      for 0:15 and 3:30 would be rowoon’s last low note
      for 5:05 the Eb3
      for 5:13 all the notes (i guess it starts at Bb2?)
      for 5:34 the E4 and E3 (?) around 5:39

      i have a terrible notion of time lmao
      btw taeyang sings around 5:44 if you could check as well

      thanks in advance ^^


    1. The C5? No, it isn’t. None of the members of LOONA have shown proper support anywhere close to B4/C5 at this point, or proper support at all.


    1. The placement and support are good, it’s just your diction that makes the back of the tongue be placed slightly inward. It’s definitely better but not quite relaxed just yet.


  13. Okay, this is a dumb question. But what’s the difference between, whistle and falsetto and head voice, I know what head voice and falsetto are but I don’t know how whistle correlates to those 2.


    1. Falsetto and head voice use almost the same muscles, except the falsetto uses solely the head voice muscles while the head voice uses some of the chest muscles function wise. It is thinner, lacks support, lacks dynamics and is often airy. The whistle register is a disconnected register above the head voice/falsetto range. It can be used as low as where you’d sing in head voice, Minnie Riperton could use her whistle around B5 while many sopranos do bring their head voices up to E6 ~ G6. It’s a much thinner vocal cord function where they vibrate really quickly but it isn’t part of the modal register.


      1. Technically it’s not the same principle of support as the modal voice because it’s disconnected but it can be strained so there’s a right and a wrong way to sing in your whistle.

        Liked by 1 person

  14. Hi Ahmin! I’ve been practising with exercises a lot lately and just wanted to check my approach was right this time round! Am I letting out too much air when transitioning between the notes in ‘ya-ya’ exercise because I run out of breath quite quickly?
    I kind of feel like there’s better connection (at least when I’m doing the ‘ba’ exercise) but it might just be wishful thinking too!


    1. When you listen back, do you not hear that you’re singing Ya-ha-ah-ha-ah. There are too many H’s, H’s indicate air coming through the vocal cords, which indicates lack of cord connection and lack of proper stretching and exercising of the muscles. Also I urge to check yourself in the mirror and to keep your jaw dropped, even use your hands to help because you’re not freeing up the jaw and the vocal cords aren’t stretching enough on their on for the Ya exercise. There’s too much air being used, not nearly enough support. It’s not bad, it’s relaxed but it just isn’t really exercising new muscle memory.

      Ba does have better connection, the jaw isn’t dropped enough so the sound lacks freedom but you sound clearer and more projected. The biggest problem I have is that you’re not opening up enough nor focusing the sound forward, but you’re fairly relaxed and when you started to feel tension, you went back down and I was quite pleasantly surprised by that. Keep up the good work, remember to be very precise with details!


  15. What mostly common as problem for kpop idols or in general beside nasality, tension, shallow (or swallow i don’t know which one is correct lol) support, strain notes?


    1. You mentioned mostly everything that’s a problem. Lol The biggest problem is vocalists who don’t have natural support are taught to push and teaching to push is the main form of teaching there.


      1. Natural support? So like being forced to reach that notes but actually you can’t? Or basically don’t have support but they give this and this to sing? (Or what i wrote actually has the same meaning lol). So is this what happen with them in survival show??


      2. No I mean in K-pop most skilled vocalists were already able to use proper support in their singing when they auditioned, you can hear it in their audition tapes. But the ones who don’t support naturally never learn to cause all they’re taught to do is shout or push. And those with natural support sometimes revert back to pushing too.


  16. Hey Ahmin, random question but is there any baritones voices in kpop which you like? i’ve noticed all your favorite ones under your profile are tenors as far as I can tell, but i dont know how long it’s been since you updated your profile so I decided to ask


  17. Is there any way for me to send you some recording s to get feedback on my singing and how to improve? I don’t have any uploaded anywhere on the internet so I have no way to link them here but I would really like to get some of your feedback and see how I can improve. (I’m not really strong to begin with but I’d like to see what I could do to be better)


    1. I guess you could upload some unlisted videos on YT and send Ahmin the link per email (you can find it on his YT channel) or just send him the audio file per email if it is not too big 🙂


  18. Hi i saw that you answered a question about a vocal range video on mitch so could you tell me if perries f7 squeak should be included in her vocal range? is it a whistle?
    it’s at 4:58


  19. How can you decide when it should be written for example Bb4/B4 not Bb4 or B4 not Bb4/B4? And what indication it should be change from Bb4 to Bb4/B4 or Bb4/B4 to B4 like maybe how consistent it should be to change? LOL just curious here


    1. For me, it’s when the vocalist doesn’t show enough consistent up or down to those notes. It’s just like is it every other performance, 50/50 or is it almost never that they lose consistency on the top of those two notes. For Pandayeu though, he always puts it with a slash in case of inconsistencies. So we do it differently.


  20. Hi I hope all of you are well! I don’t know id you’ve talked about this Mixnine performance already, sorry if you have. I know this is a survival show (sorry) but i figured since you’re analyzing some of these vocalist in the future (for example inseong, hyunkyu) i figured it wouldn’t hurt too much.

    0:13 Hyunkyu (Vromance)
    0:28 Heejun (KNK)
    0:43 Changyoon (ONF)
    1:13 Donghun (A.C.E)
    1:33 Gunmin (RBW trainee)
    1:44 Hyunsoo (HNboys)
    2:01 Chandong (Vromance)
    2:17 Inseong (KNK)

    I also have a few specific questions/my own analysis that needs clarification or correction:

    1.) I don’t know how well you remember, but Donghun was the one from the Blackpink Stay cover on the far right and you said he was very nasal (He’s one of the main vocalists alongside Chan in ACE). From what I’ve learned from you and on my own, is that here on the higher notes Donghun sounds tight and throaty? I don’t know i could be wrong.. if im not would you say him and inseong are about the same in terms of that? Or maybe inseong slightly less. I know none of them are Amazing™ but who did the best in terms of technique?

    2.) Also is Hyunsoo a baritone? I took him for one. Also he’s not sick or anything, he has a super husky voice (also i didn’t take him for a baritone because of that lol).

    3.) I’m assuming Heejun and Changyoon (maybe Gunmin too) are the weakest as well (I personally know heejun isn’t that strong, being a Knk stan). To me they both sound throaty and i think Changyoon is pretty nasal or idk?.. he sounded kinda funky to me so i dont wanna say that’s just his timbre. I feel like a lot of them are using their throats a lot though. Like here 3:00 (idk how bad there tho) & here 3:19. (Same with inseong).

    Thank you for taking any time to reply! Have a great day/evening


  21. Hi, this singer is not in Kpop, but what do you think of Raon’s performance here?

    From what I hear, she supports, but there is nasality sometimes? Does she produce resonance, occasionally? I mean, if she sometimes is nasal, then she can’t produce resonance consistently, right?
    Her C5’s and D5’s sound good to me, but I’m not sure whether she pushes/is too chesty… There were notes above D5 shortly after 3:36, I think they were strained. Pushed with a high larynx? Is that right?
    3:11 Airier, but if her mix was chest-dominant before, this is more balanced, I guess?

    I have taught myself to hear those things, so I am not sure … Especially hearing a high larynx is a little difficult to me lol


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