B2ST’s Vocal Analysis: Yoseob


Vocal Range

G2 ~ C#6 (3 Octaves and 3 notes)

Supported Range

B2/C3 ~ G#4

B2/C3 ~ C#5 (with head voice)

Voice Type

Light-Lyric Tenor


  • Strongest vocalist in B2ST
  • One of the better lower ranges amongst tenors in K-pop
  • Capable of producing resonance consistently within his supported range
  • Able to support his voice as high as G#4, with some support present on A4
  • Able to sing down to C3 and B2 with consistent support and a neutral larynx
  • Sings with a connected head voice at times
  • Good intonation
  • Able to transition well into both falsetto and head voice
  • Uses a balanced mixed voice
  • Able to produce a very steady even vibrato


  • The higher he goes outside his supported range, the more yelled his mixed voice becomes
  • His falsetto can sound often pushed, strained and yelled as he ascends above D5
  • His lower range is often unsupported and may also have a low larynx below B2
  • The throat isn’t always relaxed on certain mixed notes, causing him to sound pushed
  • Nasality can be very present in his head voice
  • Although he has a nice lower range, he mostly sings a repertoire that does not show that range
  • Mixed voice is somewhat underdeveloped above Bb4, causing his voice to sound unbalanced
  • Vocal runs can often sound sloppy and poorly produced


  • Lower register: Generally able to keep his voice very forward in his mask, with a nice chest placement throughout his lower range around the 3rd octave and the beginning of the second octave. He may at times lower his larynx below B2 or simply become quite airy and lack the proper support necessary.
  • Mixed register: A very relaxed and balanced mix of chest and head voice is present in Yoseob’s voice. He is consistently able to keep a lifted soft palate as well as producing resonance up as high as G#4. Even above his supported range, placement isn’t lost, but there’s tension and push from the throat and excessive air, with at times a high larynx.
  • Upper register: Able to produce a connected head voice up to E5, but inconsistently and may at times push with a nasal falsetto and too much throat tension above C#5. Even then, transitions are usually well done, the voice doesn’t lose the sense of pitch even in his head voice voice and falsetto.


As a light-lyric, Yoseob’s voice possesses an ease for faster passages in the upper register, even in his head voice and his mix. Even so, he does have the lack of precision with his vocal runs, where many times the separation of pitch may be present but the proper rhythm between the notes and the connection isn’t established fully, so his vocal runs often sound sloppy and out of place. Those occasions include the high falsetto runs in “희야“, and runs in his mix such as in “When I First Saw You“.

Overall analysis

One of the older idols in the current K-pop music industry, B2ST’s Yoseob secures a safe place as the group’s main vocalist. Without a doubt he’s the vocalist with the strongest sense of support, pitch, musicality and placement, outdoing any of his members vocally. As a light-lyric tenor, Yoseob’s voice retains a very bright tonal quality throughout his registers and even presents a more balanced mix that takes away any signs of huskiness or strain to his voice.

From the bottom of his range, Yoseob’s weakness starts with the fact that within the repertoire written for B2ST, by member Junhyung, the songs do not ever highlight his lower range. If they did, they’d be able to show that Yoseob is one of the male idols with one of the better supported lower ranges, being able to keep a forward placement in his lower range with a stable larynx down to D3, such as in”When I First Saw You“, C#3 as in “왕이 되기 싫어“, C3 in “Close Every Door” and even B2 such as in an acapella version of “괜찮겠니“. Although there’s support in Yoseob’s lower range above the average skill of tenors, there’s still room for improvement as he descends below B2. Notes below B2 either become unsupported, such as the Bb2’s and G#2 of “Caffeine“, or are produced with a low larynx such as the G2, G#2 and Bb2 in B2ST’s “low note and high note battle“.

One of the highlights of Yoseob’s voice is the fact that his mixed range is consistently supported and connected to his lower range and is consistently resonant even as high as G#4. In many occasions, even from the beginning of his career as a B2ST member, Yoseob showed the understand of how to properly control his breath support and keep a neutral larynx with resonance and good placement on F#4’s, such as in “엄마“, G4’s in “Fiction” and G#4’s in “Caffeine” and “왕이 되기 싫어“. Many times also, Yoseob shows a nice control of dynamics in his mix, being able to support his voice on G#4/G4 and below even without necessarily having to powerfully hit a high note and instead singing through the choruses of many songs, such as in “I’m sorry”. Even when Yoseob is taken outside of his supported range, he still shows a consistent understanding of how to keep a lifted soft palate and a forward sound. In performances such as “Breathe (숨)” and “Beautiful“, Yoseob produces A4’s with an opened sound and with support, even though there may show tension mid-note or the throat might get slightly tense. He is generally able to show support, with an extra push of the throat as he ascends into A4 and above A4, the larynx generally raises and the sound becomes more yelled and less stable, such as the B4’s and C#5 in “왕이 되기 싫어” and the C#5’s and Eb5’s in “Goodbye Baby“. Even then, Yoseob generally sings more so within his supported range and doesn’t tend to try and hit notes outside his supported range without reason. His mixed range, however, still shows signs of unevenness as he ascends above Bb4, showing a lack of full development and that due to how heady his mix is, he would need to develop better muscle coordination in order to add more chest tone and quality to the upper part of his mixed voice.

In his upper range, the range that he actually uses the most within the B2ST repertoire, Yoseob shows the most issues. His voice generally is able to produce a connected and supported head voice, such as the Bb4’s in “Baby Baby“, but even then Yoseob shows the tendency to become rather nasal and add tension to his voice as he ascends above his highest connected head voice note, E5. Even above C#5, he shows inconsistency in producing a connected head voice and will many times push a strained falsetto, which at times may close his throat and cause him to go flat, such as in the acoustic live performance of “12시30분“, where when he ascends into an F5, his throat closes and he shows clear signs of strain. As he goes even higher above F5, such as the F#5 in 희야“, the G5’s in “Thanks To” and even the A5 and C#6 from B2ST’s “low note and high note battle“, his voice shows a clear disconnection of placement, a backward throaty high larynx sound, with a lot of push and strain. Arguably this exposes him the most since this is the register he needs the most when singing the repertoire which is written for B2ST, causing him to not be able to highlight the best parts of his voice.

Musically, Yoseob possesses a clear understanding of how to change his voice to produce mellower sounds and add emotion, grief, sadness and happiness to his vocal delivery through the usage of a gradual increase in volume and control of his support, without losing the tonal quality and support he possesses throughout his supported range, such as in “미워요” and “그대와 영원히“. Not only are his ears very sensitive to music, he is also very sensitive to pitch and how he produces his sound, whereas in the acoustic live performance of “12시30분“, he sings a flat F5 in the first chorus of the song, he quickly fixes his approach to the note in the other two choruses and doesn’t show the same kind of intonation issue anymore. More so importantly, he has the ability to sing well and in tune consistently, even when singing with someone who’s almost tone deaf, such as his duet with a fan on “YoojaeSuk’s I am a man“. Lastly, he also consistently produces an even, supported and healthy vibrato throughout his range.

As a vocalist, Yoseob’s consistency shows that he’s a very professional artist who takes his craft seriously. He doesn’t try to sing outside his comfort zone and shows humility even stating that he feels that his singing isn’t that impressive and that he doesn’t have the lowest voice nor the highest voice, showing that he is unaware that compared to many male idols, he possesses a very well versed and controlled instrument. For future improvement, perhaps singing in a repertoire that highlights the strengths of his voice, instead of the weaknesses, would be wise. Also controlling the rest of his range and developing his mix would allow for a more impressive and powerful vocal delivery overall.


Yoseob is not much of a risk-taker and does not try to add unwanted vocal runs without reason to his vocal performances. Having said that, he is also not flaw-free when it comes to improvisations and although he has been able to add some mild differences into his delivery of songs such as “Beautiful” and”Caffeine“, at other times he will add poorly produced and strained falsetto notes to his vocal performances, sounding flat and sloppy, such as the F#5 in “희야” and the G5’s and A5 of “Thanks To“. Regardless, he is not one to try and do this regularly and within his supported range, he shows control of pitch, rhythmic changes and melodic ideas.


Above Average to Competent Vocalist

Vocal Range Video(s)

Best Vocal Performance(s)

Video by: Ahmin (Kitsunemale)

Analyzed by Ahmin (Kitsunemale)

About ahmin3

kitsunemale from YouTube, AhMin33 from Twitter and Ahmin from OneHallyu! https://www.youtube.com/user/KitsuneMale

168 thoughts on “B2ST’s Vocal Analysis: Yoseob

  1. Hi!
    I was just wondering whether there is a reason why those who tend to be main vocalists use microphones, whilst the other even lead vocalists use the headset type mikes? I was watching a few of Beast’s performances and noticed that Yoseob tended to use a proper microphone while the other members didn’t.
    Kinda irrelevant but who is in your banner at the top? I recognise Kyuhyun, baekhyun, Jessica and Taeyeon but was curious who the rest were.

    Thank you for taking the time to publish this analysis, it really means a lot to me 😀


    1. I’ve noticed that too, I think it’s more to do with them having more freedom to use the microphones and use actual mic technique. Mic technique just has to do with knowing where to place your mix in relation to your mouth so that you don’t sound too loud or too soft. A head set makes it hard because it’s always in one place, sometimes you have to use your hand to move it closer to your mouth because it might not actually pick up the sound of your voice. The microphone allows the main vocalist to have more freedom so they can control their voices and use it for adlibs as well. It would be Baekhyun, IU, Taeyeon, Kyuhyun, Jessica, Hyorin and Jung Yonghwa. ^ ^ No problem, I’m glad you liked it!


  2. This is one of the older analyses on the site. On the newer analyses, many of the YouTube videos are embedded directly to the note in question mid-video while in this one it only embeds to the beginning of the video.
    You have updated some of the older entries with better examples (Ailee, Girls’ Generation, Hyorin) so would you consider updating this one (or other old ones) as well?


    1. The problem with that is that we didn’t do it before because it was quite time consuming and a lot of the examples are actually highlighted in his vocal range video. It’d take a lot of time to go through these analyses and update them but I understand it is something that’s quite different for analyses that are somewhat older. Actually Ailee’s was updated as a whole, not just with new examples but it was a whole new analysis. Hyorin’s analysis was updated with examples only after her change in technique and SNSD’s updates were directly as the analyses were rewritten. There’s absolutely no need for a rewrite on this analysis but the links with time stamps could be fixed, I just can’t say when it’d happen since it is quite time consuming. I hope you understand.


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