C#3 ~ Bb5 (2 octaves, 4 notes and 1 semitone)
G3 ~ Bb4
- Second strongest vocalist in Sistar
- Able to support her notes up until Bb4 with relative consistency
- Voice is normally stable and well controlled within her supported range
- Is able to oftentimes produce fuller notes down to G3, with nice projection
- Falsetto is often relaxed and easily accessed
- Able to produce a healthy, steady and supported vibrato
- Possesses enough skill in musicality to add different onsets and dynamics to her singing
- Intonation has made considerable improvement since debut
- Her voice lacks any true flexibility and agility
- Notes above C5 often sound pushed, shouted and strained
- Notes below G3 become quieter, less projected and lose consistency in tone production
- Voice is often shallow in terms of tone production and lacks any depth
- Placement isn’t very optimal and the voice does not often ring
- Nasality is a very present part of her singing
- Airiness is present in most parts of her voice, but specially in her falsetto
- Lower register: The voice contains a very good amount of control and connection down to G3, often being able to stay supported and relaxed with a neutral larynx in this register. Sometimes consistency issues may occur and the voice will sound overly quiet, airy and unprojected, which more often happens below G3.
- Mixed register: Notes above C5 are often strained, however she has stability and consistent support up until above Bb4/B4, with a stable larynx and a clean relaxed sound, occasional support happens up to C5.
- Upper register: Although relaxed, this is her least developed register. For the most part, the voice is in pitch but is overly airy, unsupported and lacks a true color and tone.
Soyou’s voice is light and quite airy. Due to the lightness that her voice employs, her voice should find more ease in vocal ornamentations. The proper technique for vocal agility requires a slightly lighter tone production but oftentimes singers mistake lightness with airiness and let too much air go through their vocal cords, causing the voice to lack support and control. Due to such techniques, Soyou’s voice isn’t as agile as it could be. She’s shown improvement from her debut days with pitch, in general, therefore fixing the way she’d slide through runs in a clumsy kind of manner, such as in “Stand Up For Love“, to a more connected and corrected ability to go through easier thrills, such as in “Hurt” and vocal runs, such as in “All I Want For Christmas Is You“, although still lacking the true feel of bouncing through notes in an agile and flexible manner, resulting in a more pitch accurate performance but with a slow delivery of runs.
As the lead vocalist of Sistar, SoYou’s vocal skill would most likely often be compared with the main vocalist of the group, Hyorin. The difference in vocal skill between both vocalists is quite large, however so SoYou still has her own unique charms and is often a popular duet partner for many male rappers and vocalists, due to the airiness of her voice and style that make her singing quite popular. Her voice is light, bright and sits most comfortably in the light lyric soprano fach.
The bottom of her range would perhaps be where her voice finds its highlight in terms of development and support. Her voice can at times show significant support and connection even as low as D3, E3 and F#3, such as in “If I Ain’t Got You“. Due to her lack of consistency, however, it is more safe to say she starts supporting her voice properly around G3 and G#3, where her voice is better projected and supported, such as in “Crying” and “All For You“. Although she may be able to support her voice partially on F#3’s at times, such as in “사랑하기때문에“, her voice still feels less connected and supported than it should, lacking in terms of placement and projection. Her voice seems comfortable down to F#3, but there’s less consistency of tone below A3, where connection may be present from F#3/G3, but support isn’t necessarily present. Notes below F#3 however, although improved, will show a less consistent column of sound, become airy and unprojected, such as in “거위의 꿈“.
Her mixed range would be the second most developed register of her voice, where she used to produce relaxed and somewhat supported Bb4’s, since before her debut, such as in “길에서“. As time went by, Soyou’s breath support improved considerably allowing for her to properly project and stabilize her voice on her mixed range, even as high as C5, such as in “Hurt” and but mostly on the Bb4/B4 range such as in “미녀와 야수“. The problem then comes as she ascends above B4/C5, where her voice will sound shouted, constricted and with a small passage of air through the throat. Her throat and vocal tract shaping usually end up with her voice being heavily placed in her nose and sounding small, lacking projection. Her soft palate does not really show signs of being lifted, causing the space for her higher notes to be small and her to raise her larynx and strain, such as the D5’s in “You Like Me, I Like You“, the C#5’s in “I Think I” and the F#5’s in “Loving U”. Her mixed voice also lacks the true usage of chest overtones to create a well balanced mixed voice, often relying more heavily on a head-dominant mixed voice. Her mixed voice is not well placed in her mask nor her chest, sounding quite small for the most part.
Her least developed register and ironically, her most famous and used register, is her falsetto register. SoYou’s voice generally becomes quite nasal for most of her singing and also, her vocal cords lack proper connection, causing a lot of air to come through. This becomes even more apparent as she ascends into her falsetto register, never showing the true connection and ability to create a properly placed head voice. Her voice is often disconnected, unprojected and soft, which stylistically may be very appealing, but never really shows the skill to become anything other than airy and weak. Examples include her many duets, such as in “Stupid In Love“, “Some” and “틈“. Her falsetto is, for the most part, relaxed, but still can’t be called supported nor is it properly connected to her voice, causing irritation to her vocal cords and abuse.
From debut until present day, Soyou’s support and intonation have improved considerably, such as in compared performances like “Stand Up For Love” to “If I Ain’t Got You” and “Hurt“. Her voice has improved in stability, support, control and pitch, allowing for her to stay in a relatively comfortable one octave range with good intonation and control. The biggest problem with her vocal delivery, however, still is the lack of true connection between her vocal cords and the improper placement of her voice. Resonance or even an open throated sound are never really shown with SoYou’s voice, because her mixed voice, lower range and falsetto are generally placed in her nose with an overly airy sound. Not only that, her tone production still lacks true depth and roundness of tone, often sounding shallow, small and unprojected. Although improvement is seen in “Hurt“, the contrast between the size, resonance and projection of SoYou’s voice and Hyorin’s voice is so apparent that her voice is unable to truly shine and overpower anybody else’s voice and when brought up outside of her supported range, the sound becomes thin and produced with the help of the throat as opposed to diaphragm support.
Musically speaking, SoYou’s understanding of dynamics and vocal delivery is limited to power through strain and a softer airy tone. Although she is able to support her voice and sing in tune, her voice is unable to create much difference in her performances and even with some difference in volume, her voice just isn’t technically skilled enough to handle the high notes she hits with enough breath support. Regardless, her voice still shows enough skill to handle easy songs within her supported range with airy vocals and soft dynamics.
As a vocalist, SoYou’s voice and style are easily recognized. Both Hyorin and SoYou are known for airy vocals, something that may be a result of her training and whoever their vocal coach may have been. Her skill may still lack, but she has come a long way with a good consistent improvement in her register and breath support. Although her improvement is not as noticeable as Hyorin’s, her voice still has a signature style often sought by duet partners. For a long lived career as a vocalist and soloist, her first and most important thing to develop would not be support nor range, but instead proper placement in her voice to allow for a more projected, rounder and cleaner tone. Connecting her vocal cords and allowing for her voice to be placed in her chest, head or mask instead of her nose would then allow for her to achieve a full resonant sound and fully develop the potential of her voice.
Soyou’s musicianship is not a very developed part of her musical delivery. She’s yet to fully master the control of her own instrument, so she lacks the true ability to use her own definite vocal style with properly added notes, rhythms and musical ideas. For the most part, she will stick to the original song and deliver a similar performance to the original performer of the song, such as in the acoustic version of “Touch My Body” and a cover of Rihanna’s “We Found Love“. Her style and musicianship would best be described as airy and soft, for the most part.
Vocal Range Video(s)
video by: Viettien81212
Analyzed by Ahmin (kitsunemale)