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


948 thoughts on “Kim SoHyang Vocal Analysis

  1. Hi there, good afternoon

    Do you think her G#5 1:18 is supported?
    And her G#5 2:40 is strained?
    That video makes me so confused.


    1. Both of them weren’t produced well. Little bit of. Strain with a high larynx. Yeah this video did a lot of exaggerating, but it’s not wrong about the improvement.


  2. Hi Ahmin, I wanted to thank you for all of your effort and time that you guys put in to answear all the questions.
    So I had a few question
    1- I would like to know if in YOUR OPINION Sohyang supports F6 in her head voice ( I know that there has been controverseries about it) because honestly I dont have a good ear and when I compared her f6 to Lena Park’s f6 they both sounded same (as for the supported aspect) but I might be wrong since I suck at it
    2_ I would like to know her full supported range (: I mean how many octaves and notes she can support
    I was reading your commnents on IU’s three Octaves range video and you said that her full supported vocal range wouldnt be three octaves. Now as I said I am not good at differentiating notes but would it be
    #F4/G4- C6/#C6 for her mix range and lower chest about and octave and half
    and her head voice would be lets say from F5-F6 = an octave
    Two and half octave + b3-#g3 two notes
    so about two octave and seven notes ?
    Just againg I wanted to thank you guys . You are amazing


    1. Hi there dear!
      1. The thing is Pandayeu and I disagree about it. I hear a thin quality with pushing and perhaps a high larynx, Pandayeu hears more support than strain but we ultimately agreed that if it’s supported or not, one occasion where she supports F6 is not enough to prove consistency as there are basically no other examples of her going that high.
      2. You’ll find out once her analysis is re-written. ^ ^ But let’s see G#3 ~ G#4 one octave, to G#5, two octaves, Bb5, C6, D6, E6, that’s 2 octaves and 4 full notes. She’d need F6, F#6, G6 and G#6 to complete 3 octaves.


      1. I just want to leave these 2 links here cause they include all F6 Sohyang has ever included (4 in total) so you guys can take another look at them if you didnt see them all yet.

        In this link you can find her first 3 F6, just skip forward till her F6’s start.

        And here you can find a studio F6 at the end. Im sorry for not including timestamps but my Connection is too weak right now to load the videos but you basically just have to go to the end of the video anyways.

        I hope I could help you guys a bit ^^. But G#3-E6 or G#3-F6 doesnt really matter anyways since her head voice is really developed either way 🙂


  3. Hey Ahmin! I want to know if SoHyang still considered excellent vocalist? Becasue as I read some comment on the internet that she’s actually often pitchy or not as perfect as we saw on video such as Immortal Song and so on.
    I found it my self that her KoMS performance somehow have unedited and edited version which when she hits the high notes have different quality, somehow a bit flat from both version of video (edit and unedited). But i dont have the link tho, i just heard it randomly from several video from YT of the same performance but you might have noticed it too. Lol


    1. Oh, second question and it’s subjective I thought. Do yourself enjoy So Hyang performances? Because I found it sometimes she oversung or her style doesn’t match with the song or even just some part of the song feels like do not need to be this certain way.
      For example, her Breathe performance on KoMS, the first part is fantastic, I feel the goosebumps, the message of the song is like delivered to my soul but the second part sound a bit excessive and I lost the feeling, is there any kind of way to analyse such thing or it’s just pure personal preference?


    2. She is not a perfect vocalist, there is no perfect vocalist. Sohyang usually has issues with pitch in runs or when she’s fatigued, she’s not generally a pitchy vocalist. That’s the only drawback, why don’t we wait for her analysis to be re-written? ^ ^
      As for your second question, I enjoy some of her vocal performances like Arirang Alone and Bridge Over Troubled Water, I love those two but some other performances aren’t really my cup of tea. It’s just generally personal preference, cause actually Breathe is also one of my favorite performances from her, I quite liked it.


    3. There is only one edited version of Breathe where they changed her mix G5 to a F#5 because she cracked on the G5. She got Fluid therapy at that time but she was not pitchy.
      And her lows to G#3 have gotten fuller and her mid belts too and agility got a little better too so I an pretty sure she is still considered excellent because I wanna see a vocalist who is that consistent while having immense health problems. No Offense though


  4. Hi! I just finished re-watching IAS2. Would like to ask about Sohyang’s perf in It’s Only My World the rock song. How did she change her voice to a much thicker one? Did she do it by lowering her larynx? But it doesn’t sound unnatural to me..


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