Ann One’s Vocal Analysis

Vocal Range

Bb2 ~ E6 (3 Octaves & 3 notes)

Supported Range

E3/F3 ~ Eb5/E5

E3/F3 ~ A5 (with head voice)

Voice Type



  • Very well developed overall vocal technique
  • Resonance is produced with very good consistency
  • Support is present throughout her range
  • Head voice is produced consistently with good resonance up to A5
  • Mixed voice is consistently resonant and supported up to Eb5/E5
  • Lower range is produced with a neutral larynx, supported down to E3/F3
  • Vocal agility has been well explored, vocal runs are well produced and accurate
  • Musicianship very well explored and very well executed
  • Vocal registers are well evened out in terms of tone and column of sound
  • Great breath control for vocal dynamics
  • Healthy vibrato produced consistently
  • Knows her voice very well and sings with good control of her technique

Points for Improvement

  • Larynx may be lowered below E3, tone below less clear below C#3
  • Notes above E5 become more pushed and lacks power
  • Head voice lacks freedom and support above A5
  • At times mixing can be overly chest-dominant, taking away from ease in the upper mixed voice
  • Whininess in tone can happen from time to time


  • Lower register: A very well developed and connected register, her voice remains present and relaxed with ease down to F3/E3 consistently, without a drop in support. Voice becomes less clear and is usually less explored below E3, where the support is dropped.
  • Mixed register: The mixed voice is generally supported with very consistent resonance throughout up to Eb5/E5. Above E5, the mixed voice becomes more pushed and sounds less comfortable although good placement isn’t lost even as high as F#5/G5.
  • Upper register: Most underused register, nonetheless not an a completely under developed register. Able to use a connected resonant head voice, although not often used above F5, due to most likely stylistic choices. Above A5, however, head voice becomes pushed.


As an R&B vocalist, Ann has developed her voice around the genre with lightness, flexibility and a very bright mask placed sound that allows her to easily sing through high and low vocal passages while projecting and singing up and down her range with accuracy in pitch and nearly flawless note separation from note to note. As opposed to many Korean R&B vocalists, she does not try to oversing and add runs out of place and instead chooses more quick and subtle ways to show off her ability to sing runs well. Her runs are mostly very clean, every note is heard clearly and the pitch is not lost. Examples include the slow and mid tempo runs in “I Believe I Can Fly” and”Say Yes“, as well as the higher tempo runs in other performances of “I Believe I Can Fly“, as well as  “Memories“.

Overall analysis

Having debut in 2000 in Korea, Ann came with the wave of then rookie and now legendary vocalists in Korea, such as Park Hyoshin, Lena Park and Kim Bumsoo. Not to be left behind, Ann was always one to show vocal ability through her multiple vocal performances and albums and earned respect as a vocalist in Korea, although she’s no longer active as a vocalist in the country. With a lowered placed tessitura than most female vocalists in Korea, Ann’s passaggi match that of a mezzo soprano, possessing a slightly thicker sound with more character in the lower third octave. Nowadays after leaving Korea, Ann has taken on the artistic name “Ann One” as an independent artist in the US.

Her lower range has always been one of the highlights of her voice, very well developed and with clarity of tone, Ann was always able to project well in her lower range without much effort or the need to overcompensate tone by using a lowered larynx or letting her tone to be lost and turn into air. Instead her tone was always present, comfortable and she could project without much problem, even when singing softer in dynamics. Her lower range possesses a speech like ease, with well placed chest and mask resonance. Many times, she’s been able to show support well into her lower range, such as the E3 in “Say Yes“, F3’s in “체념”, “아프고 아픈 이름“, F#3 in “Crush On You” and G3’s in her duet with Park Hyoshin, “A Whole New World“. When brought down below E3, however, she has the tendency to lose some projection and support and rely on a less present tone production, even though sound isn’t necessarily lost until about C#3. Notes below C#3 lean more towards an almost vocal fry-like tone.

The mixed voice is one that is able to match and compete with that of many sopranos in the pop music industry. Unlike most young Sopranos who show signs of struggle when trying to support their voices in the fifth octave, Ann has developed her technique specially well in her mix allowing for a good balance of chest and head voice so that she doesn’t need to push her voice to project in the fifth octave, instead she uses a very well mask placed bright sound that allows more ease, alongside good breath support throughout her range. The mixed voice retains a very mature sound in the fourth octave, without much effort and produces resonance with a lifted soft palate, open throat and good support, such as the B4’s in “Say Yes“. This ease isn’t lost in the fifth octave and resonance is produced consistently from the C5 ~ E5 range, such as the C5 in “아프고 아픈 이름“, the C#5 in “A Whole New World“, Eb5’s in “Memories“, and E5’s in “Natural Woman“. The mix mostly carries more natural chest voice around the A4 ~ D5 range due to her fach, but as she ascends above Eb5 the mix becomes brighter, while staying very forward in placement in her mask. Notes above E5 however become more pushed and lack the true ease she possesses below E5. Nevertheless the sound still stays well placed in her mask with a bright mix that minimizes tension and vocal strain. At times within her supported range, her tone can become somewhat whiny due to overly added brightness in the fifth octave.

Stylistically, Ann doesn’t use much of her head voice but has shown more than enough times that she’s able to not only use a well connected head voice, but also place it well in her mask and head allowing full head voice resonance to be produced. That resonance and ease, alongside good support allow for good transitions into her head voice, such as in “Crush On You“, as well as the agility the possesses throughout her range to be produced effortlessly, such as the Eb5 ~ F5 run in”Memories“, and support isn’t lost even when she ascends in range, such as the F#5 in “Say Yes“, as well as the A5 in “나보다 더 나를 사랑하는 님이시여”. Above A5, her head voice becomes more pushed and tension happens in her throat, taking away from the true supported sound she possesses below A5.

Stylistically, Ann was never one to be a powerhouse vocalist even though she always had the potential and proper vocal technique to take on challenging songs. Instead, after becoming a solo artist in the US, she was able to explore her voice with her own recordings and songs, showing good vocal skill and technique that match her own genre of music. Vocally, she possesses a very sensitive ear, with good accuracy in pitch, good breath control for dynamics. Placement is well explored and she is able to place her voice in her chest, head and mask accordingly, depending on what sound she wishes to achieve. Not only that, through her own music she’s shown that within her supported range, she perfectly controls her voice and is aware of where her voice is most comfortable and shines the most. One of the biggest strengths in Ann’s technique is how natural her voice is, she doesn’t try to add unnecessary fake throatiness, airiness, low or high larynx positions in order to achieve a sound, instead her voice is well developed from top to bottom and possesses a very even column of sound throughout her range, something that takes years of practice to achieve.

Although having left Korea early on in her career, Ann has left a mark in Korea throughout the years by being cover by multiple artists, including Girl’s Day’s Minah, Secret’s Jieun, After School’s Raina, Park Hyoshin and so on. Her ballads have become classics and she still produces music to this day, never letting her voice get out of shape and always showing her exceptional level of vocal technique. For the future, instead of more improvement, perhaps more exposure in the Korean media to establish her place as one of the top vocalists in Korea and the world could remind the public what good vocal technique sounds like for veteran vocalists, such as a performance on Immortal Song 2.


As a very well established vocalist with complete control of what her voice can and cannot do, Ann has a very good ear for both chord changes in songs and how to alter her own sound in order to properly add more to songs. When it comes to melodic changes, Ann is able to do them without issues with pitch, control or even singing them out of place. As an R&B vocalist, she’s able to add her own twists to songs, such as the added runs in “나보다 더 나를 사랑하는 님이시여”, as well as melodic changes added to “I Believe I Can Fly“.

Label (Type of Vocalist)

HV Vocalists: High Head Voice Vocalists

HB Vocalists: High Range Belters

LR Vocalists: Low Range Vocalists

MA Vocalists: Melismatic/Agile Vocalists

WR vocalists: Well Rounded Vocalists

Vocal Range Video(s)

Video by: Ahmin (Kitsunemale)

Analyzed by Ahmin (Kitsunemale)

52 thoughts on “Ann One’s Vocal Analysis

  1. Wow! An addition to great vocalists! Great work, as usual Ahmin! 🙂

    Umm… just want to let you analyze this girl who can hit really high notes. She is a member of 4th power, a girl group who auditioned in X Factor UK. Don’t be mistaken. She is the smallest in the group and sings the highest in the group. Can you check this performances? pls?

    This is their first audition. They sang Bang Bang.
    Here they sang Show Me How you Burlesque.
    This one’s titanium.
    They sang Love The Way You Lie here.
    And lastly I can you at least comment on her whistle note here in the video.

    Just to let you know, they’ve been in the Superstar K6 in Korea in the past but they weren’t able to be in the Top 6 at least. Thank you ahmin! Love your analyses as always!


    1. I skipped through to the whistle one and all I heard was a falsetto. Would you mind explanaing who I should be listening out for? I don’t now which one the member you want me to focus on is. I’ve heard them singing before, both the Bang Bang performance and their audition for 슈스K, I remember them having great harmonies and very big voices, but the usual filipino habit of using a low larynx to produce a larger sound was also an issue amongst them, I don’t remember the details though so remind me to do this again while letting me know exactly who the member you want for us to look into is.


  2. Wow another member added into the “very good lower range girls” club with Uji, Lena Park and Lee Hi XD
    What is the standard of an erm… “above average”(?) lower range for mezzos? Soprano is like G3 right? is Mezzo’s E3?


    1. I don’t really personally work with rating lower ranges but E3 is very good for any female, most great or excellent mezzos can handle C3 ~ D3 though, like Jojo, Lady Gaga and Beyoncé. I E3 is better than a Soprano’s G3.

      Liked by 1 person

    1. I don’t know about Lee Eunmi, but I believe Lee Sora and Insooni are both mezzo sopranos. I don’t honestly know who’s better.


  3. Oh another mezzo! And a great one at that! This makes me happy but also kind of sad that she’s no longer active in Korea. But I checked out her recent stuff and I’m glad she’s still active even if outside Korea. Being an independent artist seems to suit her more as well, I think. 😀

    Also is it just me or is there a sort of trend when it comes to mezzos and developing/exploring runs and musicianship? Like Beyonce and JoJo and in KPOP, Lee Hi and now Ann One?

    Anyway thanks for this great analysis again. I’m happy to see more vocalists that are not from the current wave of kpop. 😀


    1. Haha is that really a trend? I wonder. I think maybe it’s just R&B vocalists haha There are mezzos in K-pop whose runs aren’t so stellar. I’m glad to have known her and analyzed her too, she was more fun to make a video for and I was glad to be able to give her good exposure even if just a little haha


      1. That’s true haha and there are so few mezzos in kpop so it’s hard to tell for sure. 😦 Maybe it’s also because low notes aren’t really that impressive to most people unless they’re part of runs? I mean, it’s not like you can belt low notes lol

        Liked by 1 person

  4. If the Voice is placed in the mask it can be Mix(Head Dominant) Or Head voice, Right ? I’m still lacking on those Thing


    1. Not necessarily head dominant, placement and mixing aren’t mutually exclusive. You can have a head placed balanced mix but yes the answer is yes.


  5. I didn’t know you were going to release this analysis so soon! Such a wondrous voice she possesses! 😀 It’s such a pleasure to finally get to know who Ann is for myself! Thank you so much for helping to shine a light on her! 🙂 I love your comment Ahmin about the Korean Media and the platform that Immortal Songs provides. That would be amazing to see if they choose to take notice of her as one of Korea’s best vocalists. 🙂

    Liked by 2 people

  6. Can I ask something like what makes her better than Lady Gaga? Like she’s Great and Gaga is Good to Great, both even can produce head voice and nicely support it even though rarely use it for stylistic purpose, both have a nice low note. Or is it because Ann Ones more develop in mix than Gaga?


    1. I don’t do non Kpop analyses so I never analyzed Lady Gaga. I don’t know if she’s better than Lady Gaga because I have never analyzed her in depth like I did for Ann. I am not familiar enough with Gaga to explain, I only estimated her rating. This is why I really don’t like to rate non Kpop vocalists. lol


    2. Hi. I believe Ann has better mixed voice and agility than Lady Gaga. Ann has support and resonance up to Eb5/E5 ij mixed while Lady Gaga has D5. Lady Gaga has a bit better lower register and has support down to D3. They’re equal in terms of head voice, both resonant up to A5.


      1. Lady Gaga doesn’t actually resonate in her head voice, but it’s well connected nonetheless. I would say Lady Gaga is almost as good as Ann One. If Lady Gaga had consistent support up to Eb5 or develop her head voice to be resonant, she would for sure be a great vocalist.


  7. comparing her to beyonce makes me think that the gap between great and excellent are quite large. seeing their lower range and upper range. it is already hard for people to be great vocalist, then what to do with those average vocalist…. *sigh


  8. Her E5 in Natural Woman in 2:15 you listed above was sung with a high larynx, it’s very obvious.

    And her Eb5s, and E5s in her vocal range video are mostly accompanied with a high larynx. It make me very surprise you that you add Eb5 and E5 to her supported range.


    1. Is it very obvious? I must say that I completely disagree and if you’re surprised, then I think you might be having issues telling the sound of a high larynx apart from a neutral larynx. Ann’s mix can be very brassy because you probably aren’t used to hearing many mezzo sopranos supporting this high, the only options I can think of are Beyoncé and Jojo. However Jojo is very chesty, Beyoncé is either very chesty or very bright and Ann is in the middle, but she places her sound really well even above E5, she just tends to have sort of glottal quality to her sound but it doesn’t minimize the support and the resonance up to E5, it only starts to become less free around F5 and above. I am surprised you are so confidently saying this…considering how many questions you ask.


      1. You’re mad while typing it? LOL, calm down my bro. I am actually not an expert, I’m just the one who loves singing and love learning vocal technique. I not only have issues in distinguish between high and neutral larynx, but also nasal sound and non nasal sound, chesty voice and heady voice, etc.
        I acutually do not pay much attention to mezzo sopranos, I hear a lot of supported sound from sopranos very often which leads to my mistake. But 10 minutes after sending it, I realized my fault already but I don’t know how to edit my comment. So I decide to wait for your comment just to… check how you react =)))))))
        However, thank you for your long answer and hope you’ll continue helping me.


      2. I am not mad, in nowhere in my post did I seem mad either. I am being factual. Yes I know you have issues, which is why it puzzles me as to why you were so adamant with your opinion and then said “it’s obvious.” But now you’re saying you are not an expert, that you can’t distinguish a high from a neutral larynx, a nasal from a non-nasal sound and a chesty voice from a heady voice. So if you have issues with such things, isn’t it a little weird for you to phrase it as “And her Eb5s, and E5s in her vocal range video are mostly accompanied with a high larynx.” and “Her E5 in Natural Woman in 2:15 you listed above was sung with a high larynx, it’s very obvious.” You didn’t phrase it as “they seem like they are sung with a high larynx.” You didn’t say “may” nor “might” and you didn’t say it as a question. You made very decisive statements, and even used the word obvious and now you’re taking it back. I understand that you can’t edit the comment but you could’ve replied to it. I wasn’t mad, but be careful with how you state your opinion because you can’t just say that you don’t know the difference but make such bold decisive statements. If they were in a form of a question, it would’ve been okay but the way you said it was very sure. I will keep helping you dear, no worries.


  9. Maybe you’re right, bro. I’m sorry for my firmly-stated comment. I will be more careful when asking or speaking out my opinion


  10. Came across this cover and the description said: “Performance video of a student who make persistent effort and passed international exam” (I might be wrong with translation). It makes me curious even more on the performance in this cover of 그것만으로. Did she nailed it starting from 2:46 ? Although it sounds a little bit struggle but somehow it sounds fine to me.

    Btw, I love live performance of veteran singers as I love the way they improvise their own song but I could hardly find live version for most of Ann One’s songs on Youtube. Is there any other source I can find her singing live or she rarely did live?


      1. I feel like there are some changes but I’m not sure. Honestly, I was pretty surprised and excited to see her on Sugarman. She said she is now working as a professor at applied music school in America 🙂 And we have Brown Eyed Soul covering her song! It’s super refreshing to listen to her live rendition~ Btw, thanks for replying!!! May everything goes well in your life. All the best and be happy 😀


      2. Yeah that’s how I met her, she was my professor lol Which is why I’m so excited and yet frustrated they blocked the videos here! thank you btw!


  11. How do you define good placement? Because I’ve read some comments saying that placement is just what the artist/vocalist preferable style, but then why people said that he/she has good placement, if placement is just something that depends on how a vocalist want to sound, and doesnt affect the overall technicalities of the vocal, then how do you actually which one is good or not. Is bright placement an example of ‘good’ placement? Is it because bright placed voice minimizes straining?


    1. Placement in the sense of projection, effortless projection that’s forward, that doesn’t rely on air pressure, throat tension or pushing volume to project. A sound that clear, and generally free. So it does affect one’s technique. Of course we can talk about specific placements, someone placing in the chest, mask or head or combining them. Now THATS a stylistic choice, but having the freedom to choose and to move naturally as you move through your range, that requires skill. That’s good placement.


      1. Ahhhh, so when someone said a ‘good placement’, it doesnt meant a specific placement. Can you answer about the bright placement though, like when some vocalist utilizes a bright placement, usually someone commented them as it was a positive thing? And where do you actually placed a ‘bright’ placed sound. Ty btw~


      2. Bright usually means mask. Yes it’s usually positive or just it is, like it’s just an aspect of their singing.


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