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






8,477 thoughts on “About & Our Criteria

  1. Hi errrr can you help me analyse on my singing??? I’ve never received professional help before and I’m actually worried that if I have any bad habits, I might end up damaging my voice BTW you only need to analyse the girls voice and you can stop listening to it after the second chorus cuz I made a lot of mistakes with the entering of the last chorus and well, I wasn’t use to the song yet so I screwed up. Heres the link: http://www.smule.com/p/523415619_1521771669 Thank you!! And please do be as honest as possible and also if it is not very troublesome, can you give me some tips on improving??? Sorry for asking for so much


    1. I don’t think there’s a problem with your technique with you being unhealthy or anything, but the thing is that you’re singing with a lot of headiness and breathiness. You sound soft, airy, girly and you barely mix. There’s not much tension cause the song is too low, both songs you’re singing are guy songs and they’re both too low for you which is why they may not sound as bright or cheerful, cause the key isn’t right for your voice. I only hear a lack of development in support, since you’re mostly pretty breathy and light throughout. You lack a developed chest voice when singing higher.


      1. Since you said the songs are too low to fit my voice, I tried a higher song (probably a song too high for my own good since I can barely even hit those notes) and I think that it doesn’t sound good once I try to sing in a higher range. And in that range,I kinda tire out very quickly. What do you think??? Also,is there ways to be less heady or breathy??? http://www.smule.com/p/676837566_1530182916


      2. Well it makes sense to get tired out if it’s not a range you’re used to singing in for a long period of time, since this song is slightly high when it gets to those falsetto parts, for most girls who may not be used to it. You don’t sound bad, like from a subjective point of view, your voice sounds pretty up there, but you’d have to be more confident with challenging yourself in that upper range. To be less heady and less breathy? Yes we have videos, vocal tips for K-pop fans, where all of these things are addressed, so perhaps you should go watch the one about support and the one about eliminating airiness! ^ ^ Those would definitely help. Now that you’re singing in a higher range, I can hear more tightness, more issues with your throat closing and you becoming squeezed in the throat. So of course you’ve taught yourself that that kind of range is too high for you, so when you sing there, it sounds like you’re uncomfortable and scared of those notes but those are also part of your range and you have the potential to sing much higher than you’d think! ^ ^


      3. Err are you able to identify my voice type through the recordings??? And by lack of development in support does that mean I completely do not have support??? Another thing is that actually for the first recording I lied on my sides while the other two I sat up straight so I was wondering if my position actually affects the way I sing. Thank you for answering my questions and listening to my recordings I hope you won’t mind if I continue asking for help from you in my future recordings


      4. You sound like an untrained soprano to me. Lack of development means you haven’t really been taught to engage proper support in your singing yes. Your position would affect you generally, if lying down was blocking you but it’s probable that at this point, the difference may not be huge if your breathing is the same. Well Korean is not your first language, right? I do hear an accent and some issues with diction, but you’re one of the clearest ones which is why I didn’t mention it for you. I would advice singing in a language you speak instead of one you don’t speak for practicing singing.


      5. Oh and is there anything wrong with my pronunciation??? Because there are times where my friends say that I don’t pronounce words properly (sorry for asking so much questions once again)


    1. Someone posted these videos for him before actually. Since you posted 5 videos, including studio tracks, that’s a bit much to send all at once. So I’ll copy-paste from before if that’s okay.

      “I have never heard of MYTEEN before. 0:36 his F#4’s could be more opened 0:40 0:44 0:46 slightly flat in those parts …he is kind of going slightly flat throughout, I’m not sure if he can hear himself well. He is supporting, even though his breaths are a bit shallow. He should take deeper breaths but his tone production is full enough. 1:06 F#4’s again support is there but he could be more opened. I believe throughout the song he is only singing from F#3 ~ F#4 in chest voice and mixed voice. I would say he supports F#4, but he pushes too much. 3:15 he peaked at C#5 in falsetto, there’s too much air in his falsetto. The song was very narrow in range, it didn’t challenge him.

      His mixing is so nice and well balanced in the second video. He is controlling his muscles very well and not using too much air to sing softly. He is connecting and keeping his throat relaxed while maintaining proper support. It’s refresh to hear a rookie not depending on air and shallow support to sing softly. 0:55 he is phrasing a lot of F#4’s. His throat could be a lot more opened, he seems to be at the breaking point of where his support ends and where he becomes slightly nasal. Now I realized why I’ve never heard of them…they haven’t debuted yet. So from these I have no idea what he sounds like above F#4 as I haven’t heard him mixing higher than that. I haven’t heard him produce resonance but he has very clean basic technique so he seems like a safe average vocalist at least. I am very pleased. He also has a very nice voice.”


  2. Ahmin, i’m back! It’s been a long time since i sent the throaty recording one. Lol. I hope this new one won’t be as pushy as before, in this time please analyze with details, i hope there’s any improvement

    But i’ve noticed that when i tried to project my chest voice more, the excessive mucus was blocking it and made it kinda muffled (?). So in some part i unconsciously used my throat. Is that normal?
    And this is a random question, but do you watch Game of Thrones? 😁😁


    1. When you have issues with phlegm, it’s normal to push a bit harder because the vocal cords have issues connecting so you push to connect them a bit better. This song is kind of low, a couple of E3’s and F#3’s, where I hear your larynx be pushed down. Also you seem to have kind of a cold or allergies? You sound nasal, but like improper placement nasal, you just seem to be slightly sick. The highest note was B4, where you generally sound really well supported, the problem was that the audio quality isn’t very good but honestly you sound really good! Like usual, but this range was easier, there was no pushing really! Great job, there was a C5, but I feel like you flipped into head voice.


      1. Yay, thank you. Sorry for the late reply. Yeah, the phlegm is from the cold. Really happy that i don’t push anymore. So, how long until i can produce resonance? What should i improve more? You didn’t mention about tension, did i have one?
        And ahmin, can you recommend me songs which can showcase my head voice? i want to know your opinion about it.
        Hey, i’ve noticed that you edited all of vocalists’ vocal type and deleted the sub type. Why?


      2. Oh honey I don’t know, I can’t tell you how long you need to do something cause I’m not your instructor. I don’t watch how you practice, I don’t know what you’re doing in your spare time. Resonance just comes from having more openness and placement and it’s not something that you’re far from being able to do, it just takes a different kind of approach and I’d have to really check with you. I didn’t hear much tension cause you didn’t really sing very high so apart from the low notes, you did really well. Because we feel that in contemporary music, specific fachs are guess-work and are unnecessary in the overall spectrum of the analyses as only knowing if they’re tenors or baritones is enough in a pop setting. I think you should try songs like Emotion by Destiny’s Child.


    1. Jennie in the beginning sounds half-spoken, like she usually does. The support isn’t strong, but the tone is clear. A few flat notes, but that’s not the biggest issue. It’s just the support is shallow and then the wowowow lack smoothness cause it’s kind of like doing vocal runs and they aren’t very connected. The vowel for 1:53 G4 is too wide, so there’s a bit of tension and the sound is too spread out, but it’s just a G4 and it’s not like Rosé generally strains G4’s.


  3. Hello, this is my first time sending my singing here. Here’s my singing from 4 months ago. http://www.smule.com/p/556805537_1220015819
    And these are my current singings. (I have a cough, so maybe there’re some weird sound, please ignore them)
    http://www.smule.com/p/425814235_1530405686 (Please ignore the Jihyo’s adlib part, I thought my voice is very small, but turned out it was recorded)

    Any noticable improvement? I don’t notice any improvement though. And am I singing with healthy technique?


    1. Hi there dear!

      I would really not recommend a few things. First of all, if you’re not able to speak Korean well or at all, I would say it’s better to sing in a language where you’re comfortable and you can enunciate clearly. Not being able to sing in a language you speak makes you worry about pronunciation, it might cause you issues of diction, your vowels might not be as opened and your sound might be broken. The second thing is, if you’re a young baritone, or a guy in general, I wouldn’t recommend singing girl-group songs to practice your singing. They are usually too upbeat, not focused on proper breathing, not focused on a good relaxed mid part of your range where you can develop support, they might be too low for you or not really sit in a range where your voice shines. And it’s better to sing songs that focus on singing, not on rapping or sounding fun or being nice songs to listen to. Nice songs to listen to aren’t always good songs to sing.

      With all of this, I must say your pitch is generally okay and your voice is fine, but I don’t really hear improvement. How have you been practicing your singing? Your voice is kind of very soft, your pronunciation isn’t very clear so it sounds like you often mumble your lyrics. I feel as though you’re kind of quiet and not attempting to use power and the song choices aren’t good to show your voice. You would need songs tha focus on your voice more, songs that would sit in a range that’s slightly higher since this sounds kind of low and boring for your range. You seem to not really use much of a strong chest voice and I hear a bit too much breathiness throughout.


      1. Thank you for your reply. About the mumbling, yeah I do notice that. I’m not that comfortable to record my own voice, because people say I shouldn’t sing. They say that my voice isn’t pleasant to hear and I always sound flat. That worries me a bit. (If you think I sound okay, maybe it’s because of the Smule’s auto-tune. But I think I sound worse with it. I have to use it so that you can hear my voice. There’s no option to lower the backtrack’s volume.) And I have a habit to mumble song lyrics, that’s why.

        About the song selection, I don’t know many songs, especially slow tempo songs. I know some ballad(?) songs like Fine, Late Regrets, Turning The Page of Memories, Only Longing Grows, and Eyes,Nose,Lips. That’s all I know. Those kind of songs rarely show up on YouTube, that’s why I don’t know a lot about them.

        Months ago, I don’t know that lip trills and yawning-like breathing tech can help you singing. Now, I know about it, I feel like my sound and breath come out more easily. I misunderstood about the ‘relaxed’ sensation. I thought I’m being relaxed, but it’s actually a breathiness.

        I don’t use power while singing, because I’m afraid I’ll tense my vocal cord. If I use ‘power’, I can’t control my voice volume and my voice usually cracks on higher range because I don’t switch to another register.

        I have a question. Is D4 for baritone harder to hit than C5 for soprano? For average singer, D4 is an octave and a note higher than the lowest supported note for baritones. C5 is an octave and a semitone(?) higher than the lowest supported for sopranos. I don’t have any problem on hitting that note, but I saw a lot of sopranos still struggling on hitting C5. Or am I wrong?

        Melting-Twice is very challenging song for me. I feel tight and uncomfortable on the highest note in the chorus. I hit around F4 there. Is it challenging enough? I haven’t sung any song with higher note than F4 or something around that. Can you recommend me a song that challenging for me?

        And I have a problem too. I can’t sing with head voice. I mean, I can’t phrase a word with my head voice. I can only say ‘Wooh’ sound. Sometimes I can phrase some sentences. But it sounds like a chipmunk. Is it natural because my head voice is underdeveloped?

        Another (last, for now) question. Sometimes i feel weird on my cheek area. It feels numb or something like that. It usually happens when I sing a lot. Do you know what might cause it? Is it something to worry?

        Thank you. I appreciate your answer. Sorry if this’s too long with some grammar mistakes.


      2. You’re not actually straining at any point. I never said you didn’t seem relaxed, cause you do. You just seem like you don’t connect the vocal cords, your volume doesn’t really change, it’s all kind of the same. So there’s not much engagement of support and vocal cords, but you seem generally relaxed which is why I said the range seemed boring for your voice. No, D4 for a baritone is arguably easier for a baritone than a C5 for a soprano. Wait D4 is an octave and 1 note higher than the lowest note for baritones? You mean C3? Where did you get that information? Most baritone voices are able to stay projected and well supported as low as A2 ~ F2. And C5 for sopranos? Did you mean B3? Again most sopranos also do generally fine from F#3 ~ Bb3 if trained properly. So the reason you see sopranos struggling with C5 is because C5 is harder for sopranos than D4 is for baritones.

        F4 is quite challenging but it doesn’t even have to be that high, even E4 would be enough or Eb4. Why don’t you try something that’s not in Korean? Why don’t you try When Somebody Loved Me by Sarah McLachan or Fools by Troye Sivan? Yes it’s normal if your head voice isn’t a developed and relaxed register. You feel numb after singing a lot? Then it might be cause you have tension in your cheek muscles when you are singing.


      3. Yeah I do mean C3. That’s the lowest supported note for average baritones, right? That’s what you wrote on your blog. Maybe you misread my post.

        Maybe I’ll send another recording next month. Hope I can be better.


      4. That’s the lowest note that an averagely rated baritone generally supports, I think you misunderstood what it meant. Ah I read your post, I understand the confusion. The distance between a male and a female voice isn’t the same. Sopranos have an octave in between their passaggi, males have a fourth. Males have generally larger chest voices than females, who generally have wider mixed voice ranges. And C5 is not the average soprano parameter, that would be B4. The thing is, it’s not about the number of notes, since male and female voices work differently. The answer to your question is that D4 is easier for a baritone than C5 is for a soprano, ultimately.


  4. I can’t seem to find your requesting rules page, but why won’t you analyze Jin from BTS? Lack of lines? IMHO, I think he’s improved the most since debut but I guess there’s not that much to showcase for it because BigHit decides to give him like 0 seconds of fame lol…..


    1. “We only analyze half of the vocalists in a group, and only the strongest half. If a group has 8 members but 4 are rappers, then we’ll only analyze half of the vocalists in that group. So in this case only 2/4 vocalists will be analyzed. If the vocalists in a group happen to be more vocally skilled and balanced, then more vocalists will be analyzed within a group, such as the case with SHINee, Brown Eyed Girls and Mamamoo. (Average to Above Average at least.)

      We only analyze vocalists with sufficient material for an analysis. Therefore groups that debuted more recently, such as in 2015 and 2016, will not be analyzed due to the lack of material. We prioritize vocalists who have longer careers with more material for an analysis.”


    2. It has nothing to do with lines. Our rules for future analyses would be found in our future analyses list, as the user copy-pasted to show you, I hope he was able to answer your question. ^ ^


  5. Hey, i wanted to ask why raina is above solar. I know i could just check their analysis, but i thought a quick explanation in what solar lacks in comparison to raina would be nice. Thank you, have a nice day


    1. A connected head voice, a developed lower range and less pushed resonance. So all her registers are healthier and better developed than Solar’s.


      1. Does Jisoo’s speech habits (she’s usually nasally and throaty when she speaks) affect her singing technique? People seem to like her vocal color despite her technique


      2. It’s very likely that yes, she’s never been taught to sing with a different technique so her speech habits carry over to her singing.


  6. I listened to some singers and noticed that thwy sometimes sound like they have a blocked nose. That means they´re nasal right? or atleast nasal at that specific note/verse etc.


  7. Do you guys have examples of western male & female artists for each category?

    Ex: Where would Ed Sheeran and Taylor Swift fall? Good? Excellent? Proficient? (not counting obvious ones like Mariah Carey, Beyonce, Whitney Houston, etc)


    1. We haven’t analyzed them so we really wouldn’t he comfortable with giving them ratings because we have not really listened to them sing with a critical ear.

      Liked by 1 person

    2. Maybe you could check thevocalpoint.tumblr.com for taylor swift, it’s pretty similiar to this. But i’m kinda disagree with Swift’s supported range that state as n/a. I mean she can support even she sometimes kinda/often inconsistent with her support


  8. Hi admins! So it’s been quite time I checked out this blog again & it seems there’s a change in the voice type’s part? Why the vocalists were given only their vocal type but not their tone or color like they used to? (e.g Light Lyric Tenor, Full Lyric Soprano & etc, instead it’s just Tenor, Soprano, Baritone & etc). I’m curious for the reason 🙂


    1. We just decided that it would be more accurate and better for us to just stick with the basic names. Specific voice typing can be inaccurate with pop vocalist. That being said, we always mention vocal tone and color within the analyses so there’s still that description, and I feel thats more valuable than just a simple term like “Light Lyric Soprano” because what does Light Lyric Soprano even mean yknow? Like if you didn’t know what a Light Lyric Soprano was..It wouldn’t mean anything to you. So it’s better for us just to describe what we hear with their voice in the analysis.


      1. Ahh thank you for answering! It does make sense considering perceiving the tone & characteristics of someone’s voice can be confusing & different for each people, so I understand. I kinda like when you use speficic typing along with the main type but I’m not complaining tho. It’s just as good 🙂

        & I have a question about Sohyang. I know I shouldn’t ask here but I just wanted to compact it together with this respond, so hope you don’t mind 🙂

        I wonder about Sohyang’s agility? Is it good, decent or great? & why when she does runs, she’s like different with typical western vocalists? I mean their runs sounds like they “bouncing” from each note clearly? Idk if that’s the thing tho in vocal technique lol. I already read her analysis but it seems held no answer in there? I do know the pitch is accurate most of the time except if she attempts very intricate & complex runs but why it’s kind of different throughout her voice? Like for me, that “bounce” isn’t really there & the sound isn’t really impressive in low range but suddenly it becomes great when she lighten her voice or singing in upper belts or even more when she uses HV. Again, it’s for me & idk the technical aspect of it. Hope you can answer again! ^^

        & talk about Sohyang. Most people said she’s a full lyric but there are a lot too who said she’s a light lyric. This is just something to prove the first point that specific types is pretty hard to determined lol


      2. Its no problem~

        All of these questions will be answered in the rewrite of her analysis. This questions requires me to go a little bit too in-depth for it just to be in the comments.


      3. Ahh really? If that so then I’m gonna wait for her updated analysis! I’m excited for it but mostly curious if she still the same or there’s minor improvement in here & there like many people said. For me, she sounds better in KoMS but that’s just how I perceive, again I don’t know the technical aspect of it.

        & once again, thank you so much for the answer! Your blog is the best ^^


    1. I really appreciate that you sent a ballad. I’m guessing you’re Chinese so I wouldn’t recommend singing in Korean if you can’t speak it because worrying bout pronunciation will get in the way of basic singing diction. TT is not a good to work on your singing, especially not if you’re a baritone singing down the octave. You Are My Everything, your pitch is generally nice. You tend to place the sound in the nose, while not dropping the jaw enough. It’s not all the time though, but it happens. The biggest thing for me is that you seem to kind of lower your larynx throughout your range but it’s like not all the time. Your lower range and mixed range, I feel you always push it down but sometimes it’s more than others. I hear you pushing air as well, I’m sorry I can’t give you time stamps because I’m on my phone. I would work on singing something written for a baritone voice or in a baritone key and in a language you can speak. But first of all, do you do any vocal exercises? Cause that should be your first step.


      1. Wow!Plenty of words!Thank you for your advice!So,Can I support?(I really want to know!)Because I spend a lot of time exercising how to support.


      2. Can i ask something about his voice? he is my friend LOL
        i think you say his main problem is lowering his larynx to sing and pushing.

        How about the connection of his vocal cord?
        How about the development of his muscle?
        Is it enough to support his voice if he don’t lower his larynx and pushing?

        And i have a question about muscle development.
        Something, you say there is a an undeveloped head voice.
        what are the meaning of it?
        what are the different between undeveloped and strained?


      3. Wow you’re very curious about your friend. His vocal cords seem to be connected enough, but the muscles are improperly developed because he’s taught himself to push his larynx down to stretch the vocal cords with help of tongue tension, not with proper support. He hasn’t developed proper breath support cause he hasn’t learned to do it from the diaphragm, as emulating vocalists with good technique for beginners may not get these types of results. An underdeveloped means the muscles are weak and still need to be exercised more, strained means there’s tension and it doesn’t necessarily reflect if the muscles are or not developed, although you may assume that they lack the development so they use tension to overcompensate for it.


      4. Could you explain more about “push his larynx down to stretch the vocal cords with help of tongue tension”?
        Are you meaning he have a tongue tension problem and it will help him to “push his larynx down” ?
        Any different between “push his larynx down” and lower larynx?
        Any kpop vocalist is “push his larynx down” in the middle range(or higher)?

        btw he think he can support and he maybe an average vocalist before. LOL
        Sorry for my bad English.


      5. I mean he is not using proper support to connect his vocal cords, he is pushing the vocal cords together with the harshness of a pushed down larynx, a larynx that’s being pushed down by tongue tension. So with all that blockage, I wouldn’t say he’s developed breath support yet. You can sing with a lower larynx in a natural classical way without tension, so that would be the difference. Some vocalists do that, like Jung Joonyoung.


    1. To me, it seems like Tremolo has more to do with a volume change as well as a repeated punch to a single note, differently from vibrato where there’s a slight change in pitch as opposed to volume.


  9. 3:33 – 3:36 Is that note A4? Is it heady mix or head voice with mark placement? I’m not sure because he sounds heady-ish but I’m sure he’s straining and does stretching his neck like that cause any problems?


    1. No, it’s an unsupported head voice placed more so in the mask and it’s a D5. Yes stretching the neck like that isn’t advisable.


  10. hi~ please take a look at this? i try listening them, i found something, but i cannot find the word to describing that.

    sorn’s video. note challenge type kind of song, but generally sorn always like someone singing with falsetto all time. she seem lack chest area and almost always airy.. again

    elkie’s video. generally, when i heard she singing, i feel like i was walking on the moon, sometimes i step on ground sometimes not, i can’t find word for this. and i heard she quite choppy. cut her lines part by part. remind me with park bom.
    i don’t have time stamps cuz, from the first time they singing i just heard it


    1. Oh that’s new, this performance. She is not really using falsetto the whole time, she’s just really airy and heady with weak breath support when singing higher, that’s what’s giving you that impression of falsetto. I know what you mean by walking on the moon and not stepping on the ground, I feel that for vocalists who I’d describe as “not grounded” as they’re not able to rely solely on proper breath support and so it feels like they’re always floating away and could disappear anytime.


  11. Hi This is my first time posting an audio clip. I’ve always sung for the fun of it and have never really had any constructive criticism apart from what I can gather myself. Would you mind giving some feedback? I would really appreciate it. :DD

    I’m the guy:

    i sing the first verse here, hopefully you can tell which one I am from that hahahaa


    1. Eb4 may be a bit low for you to switch completely into your falsetto. I don’t think the song is a bad song choice for you, actually it’s good. Singing in Korean…usually I tell people that they shouldn’t sing in a language they can’t speak or sing comfortably in, but it doesn’t sound like it’s a problem for you. You do speak Korean, don’t you?

      Your mixing is very heady, very light. You remind me of how VIXX’s N sings, very mixy the whole time, you tend to use a bit too much air to guide your vocal cords to new notes. You don’t need the air to direct your sound as much as what you’re doing right now. You also don’t drop your jaw enough, so the sound feels slightly locked or just not as opened as it could be and it ends up a bit nasal. Some issues with pitch here and there, mostly I’d say they’re related to your lack of openness and using your vocal cords. 0:30 see when you sing “I’m singing my blue-wo-woos” you’re singing Hoo’s, every single time an H sound comes out I feel that you’re using the breathiness to guide the vocal cords to each individual note, and you shouldn’t have to rely on it because then you’re dropping support. Your pitch is better here since this song is lower, but you would need to stop relying on random puffs of air and drops of support to find some sort of control over your voice. You don’t need that.


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