F#2 ~ C#6 (3 octaves, 3 notes and 1 semitone)
C#3/D3 ~ F4/F#4
- Strongest Vocalist in B.A.P.
- Consistently capable of producing resonance and supporting his voice up until G#4 (Up until 2015)
- Nasality is almost non existent, a big improvement from his debut
- Falsetto is generally connected and relaxed up until F5 (Up until 2015)
- Capable of producing a supported sound in his chest voice down to C#3/D3
- Intonation has shown improvement from debut
- Vibrato is consistently produced with a healthy tone and speed in his supported range
- One of the widest vocal ranges amongst male vocalists in K-pop
Points for Improvement
- Regression has happened after his hiatus, greatly affecting his vocal technique and delivery
- Although greatly improved, nasality can still be present in his voice
- Falsetto notes above F5 generally are pushed and screamed
- Notes around C#3 and below become either airy or are done with a low larynx
- Tendency to still become throaty in long belts within his supported range
- Notes above F#4 become tight, throaty and strained with a high larynx
- Vibrato becomes wobbly and overly fast when outside of his supported range
- Intonation can at times be off, specially in his vocal runs
- Generally sings too high for his voice, with too much frequency
- Lower register: Capable of supporting and producing a forward, stable sound in his lower range on notes as low as C#3 and above. When singing below C#3, voice becomes either quite airy or is accompanied by a low larynx, pushed back tongue and excessive vocal fry.
- Mixed register: Mixed voice shows consistent use of support up until G#4 and G4, with good tone production, no nasality and resonance often achieved. Notes above G#4 are generally throaty and squeezed with a high larynx. (Up until 2015). Recently, unable to maintain support higher than F#4.
- Upper register: Generally able to switch well and transition into falsetto with a relaxed tone, cord connection and control. Notes above F5 become shouted, squeezed and pushed with an excessive amount of air.
Due to the lightness of his voice, Daehyun is generally capable of singing through very high passages with enough consistency and stamina. Having said that, he is also able to produce vocal runs and sing through his notes more efficiently in this range, even if accompanied by a high larynx and a lot of strain on his voice. An example of this would be the run at the end of the bridge of his cover of “Baby Baby“, a duet with fellow B.A.P. member, Youngjae. At other times, Daehyun will show a lack of accuracy and pitch separation when singing lower vocal runs, showing a lack of control and sounding unprepared, like his run in “하늘을 달리다” as well as the run at the of his performance of “Ordinary People“. However so, there has been great improvement in pitch and accuracy, compared to his pre-debut days, considering his performance of “Georgia On My Mind“, where his pitch is much less accurate and runs are sloppily done with no care for sense of key or accuracy.
As B.A.P.’s main vocalist, Daehyun has been able to make a name for himself as a vocalist and idol singer throughout the years, ever since his debut. He possesses a very unique tone, very light and bright but still with a slight sharp quality to it, lying on a tenor range and most closely resembling a light lyric tenor quality. Due to how high his voice is, Daehyun is generally the one vocalist in B.A.P. who has to take on the highest notes and done so with poor technique can majorly injure his voice in the long run. Perhaps due to such bad habits, he isn’t able to shine and be recognized for how capable of a vocalist he really is, since his vocal skill lacks the recognition it deserves, given he follows the standard for main and strongest vocalists in K-pop idol groups.
Starting from the bottom of his range, Daehyun is able to go down as low as F#2, as he has shown in B.A.P.’s “low note battle“, but he does so by lowering his larynx, pushing his tongue into the back of his throat and adding a lot vocal fry to his chest voice to produce a very groggy low chest voice. Even as high as A2, in the same battle, he still uses a similar approach to sing that low and only truly starts showing support and an even column of sound when he reaches C#3. Even then, Daehyun still has a tendency to add too much stylistic airiness to his singing, which can compromise the delivery of his lower notes, even his C#3’s and D3’s, examples including “Coma” and “Coffee Shop“, where although tone and cord connection are present, there’s an excessive airiness present in his singing voice. As he ascends into Eb3’s and E3’s, though, Daehyun’s voice starts to become much more consistent and stable in tone, even with the stylistic airiness he may employ at times. He has, however, shown consistency down to D3/C#3 with support, even if he chooses to become breathy at times.
As a tenor, his voice really shines quite well in the mid fourth octave and above, which is not only explored but slightly even abused when singing his parts in B.A.P. songs. As the main vocalists, he usually takes on the most challenging parts of songs and thus, the highest notes are given to him. Due to his lack of proper mixing technique and breathing technique, this can oftentimes damage his voice and cause a lot of vocal strain on his singing and voice. Daehyun has shown from the day of his debut, that he was capable of supporting his voice and producing resonance. Most notably back in the days of “I Remember” as well as “1st Baby Day“, he would show support and consistency up until F4 and some support up until G#4. From then on, he has now shown improvement and consistently been able to keep his voice opened and supported up until G#4, with resonance often being produced on F#4’s, G4’s and G#4’s, examples including “Let It Go“, “Mirotic“, “Goodbye” and “Baby Baby“.
The biggest issue with Daehyun’s mixed voice though, is his tendency to show a very consistent support up until G#4 only and then having a complete drop of support, having his throat tighten around his larynx, his swallowing muscles tense up, his tongue slide back and tense up, closing the back of his throat and creating a strained, scratchy, screechy and thin sound with a high larynx. He consistently is able to keep his throat opened and make a contrast happen when singing up above G#4 and then descending back down to his supported range. Examples would include the G4’s of “Baby Baby” against the D5’s, A4’s and B4’s in said performance, and the F#4’s in “천사” against the A4’s and B4’s. Anytime he is brought up higher above G#4’s, it’s clear to hear a complete change in tone, from full and opened, to strained and painful. Other examples would include the A4’s of “One Shot“.
Unfortunately after the hiatus B.A.P. went through and perhaps what could’ve been a stressful period with less singing and practice, his bad habits started catching on and happening much earlier on in his range. Whereas before he would suddenly become quite throaty, tight, heady and gritty as soon as he sang above G#4, now as early as G4 that already happens. This can be heard with the G#4’s and G4’s in “Calm Before The Storm,” “넌 어때?” and “너 그리고 밤.” Although support is still consistently present up to F4, with some instances of inconsistency around F#4 when sustained, such as in “너 그리고 밤,” he is still able to carry through songs with enough pitch and support. His main issues are the sudden headiness and lack of balance between his chest voice and head voice muscles when mixing, making him push a lot and tighten his throat to mix higher. On top of that, he seems to prefer writing and singing songs that constantly stay around G#4/A4 and higher, making him unable to sing in a range where support is actually present, as heard in “Honeymoon,” “Darklight,” or “Young, Wild and Free.” The lack of openness also has become part of his range throughout and so resonance has not been shown after this hiatus period. Currently by 2017, it is safe to say that Daehyun has unfortunately regressed in terms of vocal technique.
In general, he is able to consistently and smoothly transition into falsetto, by mostly staying in key, controlling his voice and showing a relaxed tone in his voice, with cord connection and brightness. He is able to consistently use a falsetto, shown in performances such as “Baby Baby“,”하늘을 달리다“, and “청혼“, although he may occasionally fall slightly under pitch and go flat in tone. He has been able to show a forward placement in tone and connection with a relaxed falsetto as high as F5, as shown in “전부 거짓말”. Whenever Daehyun is taken higher, however, the sound of his voice follows a similar pattern to his mixed voice, where he will use an excessive amount of air to further push his voice higher, creating a screechy and screamed quality to his falsetto, seen on the G5 of “청혼“, as well as the G#5 and Bb5 of “I Believe I Can Fly” and his C#6.
One of his best assets is his consistent and healthy usage of a steady vibrato within his supported range, which generally follows his sustained notes and is created with proper breath support. The downside is that whenever he is taken outside of his supported range, the vibrato loses control and becomes overly fast, adding more tension to his upper belts. From late 2012 and early 2013, Daehyun would at times place his voice in his nose, as heard in B.A.P.’s cover of “Baby” and “Coffee Shop“, which has been greatly diminished and fixed over the years. Musically, Daehyun’s understanding and ear for music is generally explored only as far as dynamics go within a song, where he generally employs either a fuller tone or a breathier tone to add emotion and different characteristics to the music he sings, changing his volume and vocal approach depending on the intensity of the part he’s singing. He is also capable of harmonizing and properly softening his tone to match his duet partners, mostly fellow B.A.P. member Youngjae, as well as in the performance of “Love Cocktail” with labelmates, Secret’s Jieun and Hyosung.
Daehyun has, without a doubt, shown major improvement from his debut days until present days, which not only shows perseverance and dedication, but also a passion and seriousness about his singing career. He is a vocalist who is capable of doing a lot with his voice and possesses a lot of potential, however due to the lack of technique and training, he may seriously injure his voice in the long run due to the high range of songs he’s given to sing. Perhaps for the future, his first approach should be to further develop his mixed voice and his breathing technique so as to assist the higher part of his range and bring some ease into the challenging parts he’s given in songs, so he can have a lasting singing career. With the correct guidance and help, given his potential and dedication, Daehyun should be able to further improve into a much better vocalist and develop his singing career with the years he has ahead of him in the K-pop music industry, if he so wishes. Although it is true that he’s shown regression in his technique, it is never too late to re-learn better vocal habits to preserve his voice.
Daehyun is a vocalist who shows not only a lot of creativity, but also has shown an ear for music so as to change the musical aspects of songs, by playing with different melodies and notes. This trait has been greatly improved, compared to his pre-debut days, when in “Georgia On My Mind“, his overall control and notes would sound very strained, messy and pitchy, lacking any form of substantial thought-out process when considering what to add to the song to further enhance it musically. Although having improved in this aspect, he still has the tendency to sing with a strained high larynx on notes above G#4, so on his acoustic performance of “I Remember” with fellow B.A.P. member and rapper, Bang Yong Guk, he shows a different approach to the chorus melody of the song, although the overall delivery still was accompanied by faulty technique and a strained high larynx.
Label (Type of Vocalist)
M Vocalists: Mid-Range Vocalists
ML Vocalists: Mid-Low Range Vocalists
Vocal Range Video(s)
Video by: Edgar Cárdenas
Analyzed Ahmin (Kitsunemale)