Big Bang’s Vocal Analysis: Daesung [Newly Updated]

Vocal Range

C3 ~ D6 (3 octaves and 1 note)
(Might be able to go lower)

Supported Range

E3 ~ F#4

E3 ~ F5 (including head voice)

Voice Type

Tenor

Strengths/Achievements

  • Consistent intonation, shown improvement in this area from debut
  • Strongest vocalist in Big Bang
  • No real nasality is present in his singing
  • Generally able to support his range up to F#4/G4
  • At times able to properly place his voice and achieve a resonant sound, on F#4 and below
  • Able to produce a fuller healthier head voice, rather than a falsetto
  • Most extensive range in Big Bang, particularly in falsetto
  • Able to support lower notes down to E3

Points for Improvement

  • Very underdeveloped lower range, one of the weakest amongst male K-pop vocalists
  • Inconsistency in support and keeping resonance in his supported range on F#4’s and G4’s
  • Notes above G4 are generally very throaty, lack support and sound very strained
  • Head voice above F5 tends to lose connection, become a pinched tense falsetto
  • Sometimes inconsistent with keeping his tongue not tense in his upper range
  • Uneven mixing ability, can’t completely control how much chest or head he has in his mix
  • Not shown huge improvement in many areas of his singing throughout the years
  • Unable to correctly use effects, such as distortion or breathiness, without turning them on and off at will
  • Jaw and larynx vibrato present in his singing

Registers

  • Lower register: his lower register is his weakest and most underdeveloped register. Notes around this register tend to be very quiet and breathy, particularly below E3, where his voice loses cord connection and projection. He’s unable to correctly control the pitch in this area but that’s because the notes that come out are barely audible and lack true tone. He’s only able to correctly support notes on E3’s and F3’s, or above.
  • Mixed register: Not a bad mixed register, however he has the tendency to bring his sound back instead of keeping it forward and supported even on his normally supported range. Notes such as F4 seem to always been fine for him, but F#4’s and G4’s can at times have tongue tension and have his throat be closed. Any note above G4 lacks any sort of true mixing, where he will just shout and create a very rocky strained throaty sound up until C5.
  • Upper register: His head voice, throughout the years, has improved the most. He’s been able to correctly connect his vocal cords to produce a clean and controlled head voice which is able to be relaxed and correctly run through melodies, as well as be accessed easily from his mixed register through very good switches. He is able to stay relaxed and supported up until F5. The times he goes above that, though, his voice becomes noticeably less present, more throaty and more squeaky in sound, becoming more of a falsetto. However so, still very extensive in range.

Agility

As a lyric tenor, his voice isn’t too far from finding melismas and runs easy to produce. He does not have the tendency to add onto runs nor do vocal runs outside of his comfortable range. On the few times he’s shown to do runs, they tend to be accurate in terms of pitch separation, but he tends to lack in terms of agility, meaning, his runs tend to be medium-slow to slow in speed, but accurate in pitch. His head voice is the one which is able to most comfortable show itself in terms of vocal runs and can be quite well controlled.

Overall analysis

Daesung’s voice is one of the darker voices amongst K-Pop tenors. It sounds much fuller and mellower in tone, still retaining a more creamy texture. YG has the tendency to train their vocalists to be free performers, so their focus on pursuing artistic freedom is greater than pursuing mastery in their vocal technique. They grow as artists, but vocally they aren’t given proper vocal training, which shows in the overall development of the vocal technique in their biggest idol groups. As such Daesung has often neglected his own vocal technique, choosing not to listen to doctors who have advised him against singing the way he does due to the development of vocal nodules in his vocal cords.

Overall, his range is very weak in his lower register. In songs such as “I Love You”, Daesung stays in a comfortable key where he hits F3’s comfortably and that’s usually where he’ll sing most of his songs. In performances such as “지금 이 순간 (This is The Moment)”, Daesung’s lower register vanishes in terms of tone production and volume, become airy and losing projection. He tends to not support or comfortable have access to his lower register below E3, where his voice is asked to sing at times, in such songs that do go as low as C3. For a male tenor, that’s an underdevelopment in comparison to where his voice should comfortable be able to stay in.

His mixed register is a better developed register which is mostly comfortably supported on F4’s, very consistently and up until F#4 with moments on relaxed and supported G4’s. However, Daesung has the tendency to at times tense his tongue and bring the sound back in his throat, not letting it correctly be placed in his mask and project properly, causing a distorted sound even in low belts such as F#4’s and G4’s. At other times, Daesung is able to correctly breathe through his singing and support with a focused resonant sound, shown at moments on notes below F4 and on an F#4 sustained at the of  “지금 이 순간 (This is The Moment)”.

The range above G4 tends to be completely strained for him. He seems to adopt a very rocky, edgy sound to his singing, which becomes closed in his throat, with a slight whiny sound and a lot of throat tension. His swallowing muscles close around his throat, causing the voice to be strained and to become distorted in tone production. In songs such as “Fantastic Baby“, he might add notes above the melody and change the melody through adlibs, however so the note of choice was a C5 which was completely strained and out of his comfort zone,  along with the sustained A4 which was also strained and throaty. Even in “I Love You”, in the acoustic version where he sings it a semitone lower than the original, he sings A4’s which are still strained, along with the Bb4’s he normally hits in the original key.

Daesung’s head voice, however, is his most developed register. One of the highest notes by a male k-pop vocalist belongs to Daesung, who was able to hit D6‘s in more than one occasion in live Big Bang performances. In the past, Daesung used to show the ability to still sing very high, such as his cover of  Wheesung’s “With Me”, where he sustains a Bb5 and hits C6 as well, however so he lacked the ability to fully control the notes and keep his throat opened that high. He was also unable to switch correctly from mix to head during a phrase. More recently, Daesung’s been able to show a fuller cleaner head voice, with cord connection and clarity in tone. He’s able to transition to it delicately without effort and to sing through melodies and high notes in a relaxed supported tone, up until F5, which he shows in his performances of “I Love You”. This is a very well improved register and shows care and close attention in terms of detail in improvement.

Another one of Daesung’s improvement is his ability to better support his voice, showing a more clear ability to stay in pitch throughout a vocal performance and to stay in key during the whole song. He does not seem to try doing anything out of his comfort zone, like complicated vocal runs or hard melodies that could potentially go off in intonation, showing his understanding of his own level and instrument. On the other hand, one of Daesung’s biggest flaws is his tendency to use a fake, throaty vibrato with a lot of jaw movement. In performances, it’s clear to see his larynx moving up and down and his jaw moving at the end of sustained notes to create a forced, unauthentic vibrato, instead of properly supporting his voice and letting a natural vibrato come out.

As an artist and vocalist, Daesung’s shown care to improve vocally so that he could correctly deliver the music which he chooses and wishes to sing. He hasn’t improved dramatically in terms of vocal placement and ability to correctly place his voice, but he’s able to deliver his own music effectively through changes in dynamics, breathiness and volume. He’s not very advanced in terms of vocal effects, however so in his own artistry, his level is what he needs to deliver his music effectively. As a vocalist, his intonation and ability to show a controlled head voice set him apart from other vocalists, however don’t make up for his other vocal shortcomings. He’s shown small improvements over the years and will hopefully continue to improve to further deliver his music passion to his fans and public alike.

Musicianship

Daesung does not tend to alter music very much when singing covers and will generally sing the way melodies are needed. At times he can play with covers and show that he’s able to alter a melody or the phrasing depending on the instrumentation of the song or the freedom he’s given to sing the song acapella. However so, alterations are still very minimal and it’s an art that needs to be developed further to add more creativity to his singing, since also at times he will alter melodies by adding high notes which are out of his range and accessed through tension and strain.

Label (Type of Vocalist)

HV Vocalists: High Head Voice Vocalists

M Vocalists: Mid-Range Vocalists

S vocalists: Stylistic Vocalists

Vocal Range Video(s)

Video by: 2NE1Bang

Best Vocal Performances

Re-Analyzed by Ahmin (Kitsunemale)
(Originally analyzed by Chung)

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150 thoughts on “Big Bang’s Vocal Analysis: Daesung [Newly Updated]

  1. Hi! I would love it if you reply coz’ I think you are more credible than other online argument. Daesung has almost the same vocal octave with Changmin (3 octave and 1 note) but Changmin has 1 seminote. I was just wondering who has a better technique and also higher note? Is it Daesung or Changmin since low notes are their weakest point but Changmin strength is his mixed while Daesung is head/falsetto?

    Liked by 1 person

    1. Id rather not answer questions comparing vocalists. I’m sorry. The content of the analysis should provide enough information to answer this question though.

      Like

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