Kim SoHyang Vocal Analysis


Vocal Range

Eb3 ~ A6 (3 octaves and 3 notes)

Lower register may extended down to D3.

Supported Range

G#3/A3-F6 (Including head voice)

G#3/A3-C6 (Not including head voice)



Vocal Type

Full Lyric Soprano


Due to her extremely well trained middle register and vocal endurance she is able to consistently belt with resonance and power in the upper 5th octave (E5-B5), this skill has been very much well showcased all throughout her career. She also has a very connected voice she is able to flawlessly transition between chest to head voice and head voice to chest with no noticeable breaks or cracks. She has the ability to do complex vocal lines without losing tonality and without losing speed. Because of superior breath control she is able to do complex vocal lines in one breath and sustain notes for very long lengths of time. Sohyang also can maintain a consistent column of sound and can sing with an even scale with no drops of support in the A3-F6 range, she is also one of the very few Sopranos who can stay within the Soprano range without vocal effort truly one of the best vocalist in Asia.


Compared to the rest her voice, her lower register is underdeveloped and lower notes can be unsupported.


Lower Register: Not well supported/quiet  below G#3/A3 lower notes can sometimes be lost due to the airiness of them.

Middle Register: Extremely consistent and amazing ease. 99.99% of the time supported. The Ring is almost always achieved in the A4-B5 range and resonance up to C6. Able to hold out notes in the upper fifth octave for long lengths of time and able to due to vocal runs in the upper fifth octave without losing resonance/tonality. Able to maintain dynamics in this register up to F#5/G5. Generally uses a balanced mix.

Head Voice: Well developed head voice that is connected with the rest of the voice. Very bright,full and vibrant able to maintain head resonance to F6.  Able to maintain/do dynamics in this register.

Overall Technique

Breath Control & Support: Amazing breath control and support. She is able to do vocal feats like Crescendo and Decrescendo with ease and complete resonance, able to stay in the upper fifth octave with ease and resonance no strain no pain. Dynamics are not a problem for her even in her upper extremes.Amazing transitions between head voice and chest. Superior control and support is sadly not carried down to her lower register as notes below G#/A3 can be not supported and just airy.

Resonance:  Very consistent resonance from all throughout the mixed register, having the best ring in the Eb5-G#5/A5 range.

Mixing: When she started Sohyang used a headier mix in the E5-B5 range, but throughout the years she has adjusted to use a balance mix all throughout her mid range. She can willingly change the amount of chest she uses in her mix to make weightier sounds, but normally just uses a balanced mix.

Tone Production: She sings with a risen palate 99.99% of the time, so no true nasality. Her voice is very creamy and womanly though maintains the brightness of a Soprano. Has excellent control of how she uses her voice adding more or less chest to her mix depending on what she wants to convey/on the song. Her head voice has an extremely bright, vibrant soprano like feel to it, she is able to change the intensity of her head voice( from solid to floaty) at will.

Intonation: Fairly consistent intonation really only have pitch issues when doing very intricate and complex runs, other than that extremely reliable.


Sohyang has amazing musicianship and control of how she uses her voice to fit the style(from a more rock like sound in My World, to a more family friendly sound in Have Yourself a Merry Little Christmas). Her musicianship though, which mainly includes very high belts, high vocal runs, transitions from head to chest is not meant for everyone though. Common complaints about her musicianship is that it is too overbearing or just “too much” and that her belting can take away from the music at times and emotion can be lost. Though there are times when her musicianship is less offensive to people and they can genuinely enjoy her singing.


Excellent vocalist

Vocal Range Video(s)

Videos by: WestVoice

Video by: bxiaiao

Analysis done by: pandayeu


1,091 thoughts on “Kim SoHyang Vocal Analysis

    1. I am completely aware because this is an old analysis format and will be rewritten altogether. The header is also from the old style we had. But thank you for pointing it out, I appreciate it.


      1. Welcome. ^_^. I thought you guys just forgot for some reason. lol. So I guess that means that the rewritten analysis is close to being done, right(?)


  1. Of all the songs Sohyang has performed live, which do you believe is technically the most challenging to execute? My own guess would be a toss-up between “Everyone” and “Arirang Alone”.


    1. In my personal opinion, I think that would be Mona Lisa. Two sustained Bb5’s, a run with a B5, a A5 belt, forte mode throughout. Of course Dream is probably the highest song she sings ‘regularly’ with a D6 and a Bb5 mixed.


  2. Hi Pandayeu,
    I hope you are rewriting this anaylsis soon lol and have one question about Sohyang’s very recent vocal. Is she using headier mix when she belts these days? I have seen her lives from this october but I don’t know why I feel difference from the same songs like Lean on me at Immortal song’s and recent performances’. I guess she uses headier belts for some reason… could you please check it..?
    Thank you.!


    1. I will be rewritting her analysis don’t worry. Yes, she is using a slightly headier mix on her more extreme notes, however it’s definitely not what would be considered “unbalance” or even a technical fault. I wouldn’t worry or think too deeply about it, she’s just adjusting her technique with her age. SoHyang is nearing 40 and she’s been singing for something like 20 years, and her voice is still in pretty much in excellent condition and is still able to sing in pretty much the same way she did when she was younger. You shouldn’t worry about her “declining” or anything like that because she’s not…She’s just getting older really. Also these days, I hear she’s been sick and is in the state of recovery, so that also could be why there is a change. But really don’t think much into it her A5-C6 range is still very resonant and supported and really for her to still support those notes is quite her amazing. Her voice is seriously in great condition there really aren’t many vocalists, that I know of, whose voices are in such clean condition after 20 years or singing professionally.

      Liked by 1 person

  3. Sohyang had read this vocal analysis lol, her sister-in-law accidentally saw this article and asked her to read it. Sohyang was like “Haha, what they said is true, I still have a lot of flaws” (cute!!!). No wonder in King of Masked Singer, her low notes become more projected, her mid notes are fuller; she has worked on her voice since she read this article

    Liked by 1 person

  4. Hi, been lurking around here long enough and I want take this time to thank you guys for such a wonderful and thank you for all the hard work you guys have put in.

    I have came across this video which I am not too sure whether it will be too useful so I am putting the link here.

    Again, thanks for such a wonderful blog ^^


  5. Hello 🙂

    I have a question to the admins. What was your first reaction when you first listened to Sohyang and realized how amazing she is?


  6. Do you guys will put her C#6s as her highest supported note without head voice in the next update? Eventho it’s not that many & most of them are short-sustained, there are like 4-5 moments where she supported C#6 & I thought that’s good enough to put it to her analysis? & pls include agility section. I want to know how good her agility is as overall.

    Thank you!


      1. Seems like 50% of her E6 are well executed and the others arent. The ones in the IS2 green room are better I think and in that one studio song too


    1. There’s nothing wrong with the “old Sohyang”? She’s not “so bad” either? I don’t understand why you’re exaggerating so much. She just overshot the note and went sharp, she might not have had enough time to practice or get familiar with this key for the song. She still heard herself going sharp when sliding and went back down to fix her pitch. You act like she’s straining C5’s and pushing them with her throat while going flat…


    2. If you check her latest performances of Song of the Wind, Power of Love, (from yesterday and today), she sounds fine. She just needed to rest.


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