G#2 ~ G5 (2 Octaves, 5 notes and 1 semitone)
C3 ~ D4
- Strongest vocalist in 2PM
- Cleanest sense of support and cleanest tone production amongst 2PM members
- Mixed voice shows support up to D4 with a nice relaxed sound
- Pitch is mostly quite consistent
- Support is present in the voice
- Transitions mostly well into his falsetto
- Occasionally able to produce a better fuller well placed falsetto
- Uses a falsetto more often than he tries to belt, avoiding strain
Points for Improvement
- Often breathes into his chest, improper breathing posture
- Nasality is present throughout his range
- Below C3, his voice loses tone and support
- Notes above D4 becomes pushed and throaty, with a high larynx
- Unable to produce resonance
- Sings mostly with an airy falsetto
- Vocal runs are often pitchy and sloppy
- Lower range is relatively underdeveloped for a baritone
- Lower register: His lower is mostly well placed with fulness in tone and a connected overall vocal cord approach. His chest voice is somewhat developed in the lower third octave with good chest placement and good projection down to C3.
- Mixed register: The mixed voice is more on the head dominant sound. It’s mostly light and it lacks the chest resonance necessary for him to have a more powerful sound overall. Generally stable and well supported up to D4.
- Upper register: His falsetto is a register quite stable in his voice and used often, sometimes well placed and forward but mostly it projects from the back of his throat, causing a more swallowed sound overall. He can keep a relaxed sound in his falsetto throughout the fourth octave but shows tension above B4.
Unlike Jun.K, Junho is not a vocalist who sings much R&B. He’s not a very R&B influenced vocalist and therefore does not often choose songs that have him doing vocal runs or even adding his own vocal runs to his vocal performances. Due to that, he does not often expose his weaknesses in this area by not trying to do things he’s not capable of. The few times he’s shown to sing vocal runs, he shows a lack of confidence with his voice when separating the notes clearly and having a clear musical idea in his head that he’s able to produce with his voice, generally resulting in pitchy and sloppy runs without much of a flow, such as in “Love (Keyshia Cole cover)”, “Love“, “Give It To Me” and “Stay With Me“. Regardless though, he isn’t unaware of that and when doing vocal runs, he tries to make them as quick and short as possible.
Debuting in 2008 with 2PM as a potential lead vocalist, alongside Wooyoung, Junho has proven himself as a solo artist and vocalist many times over his career. Showing possibly the biggest improvement amongst the members of 2PM in his vocal technique, he has become a much more prominent vocalist in the group and has grown to have a very successful solo career as well. Unlike most main and lead vocalists of K-pop groups, Junho’s voice actually lies slightly lower in range than most other groups. While most of the time tenors are favored as the main vocalists of K-pop groups, due to the lower range the repertoire of 2PM is written in and the fact that Junho sings with a much lighter approach to his voice, he’s able to handle singing in a lower tenor range without as much fatigue to his voice. However, his voice and overall range fall more closed within the fach of a lyric baritone with a lighter vocal weight.
His lower range is relatively under explored and under developed for a baritone. The overall tone of his lower range is often quite well placed in his chest and projects without much issue, showing little to no effort done to support his voice in the lower third octave, such as the Eb3’s in “ずっと“, D3 in “Believe“, C#3’s in “다시 사랑한다 말할까” and C3’s in “Love“. As he descends into the second octave, his voice becomes more airy and he is unable to keep good vocal cord connection, losing tone and projection as he descends in range, such as the B2 in “향수“, Bb2 in “Love” and G#2’s in “다시 사랑한다 말할까“. He has shown in “다시 사랑한다 말할까” that he’s able to place his voice well and connect his vocal cords properly when singing as low as Bb2 at times, but it is unclear how consistent this is in his voice. For a baritone, singing with good support and placement around the upper second octave should not be much of an issue but due to singing mostly the higher parts in 2PM songs, Junho is never truly able to explore the full potential of his lower range and has yet to show the true limit of his lower range.
His mixed voice is actually quite extensive in range, as he’s been able to mix up to even D5, which for a baritone is quite a challenge. Even so, he often hinds himself singing in a range that’s quite uncomfortable for him due to him having to compete with melodies originally written for a tenor voice. Although Junho uses a more light approach to his mix with more of a head voice muscle coordination as opposed to a chest voice muscle coordination, the strain present in his mix voice can still be quite damaging to him overall as a vocalist. He has shown from time to time that he has improved in his breath support a lot and that shows in his overall tone production that is clean, clear and with a very good vocal cord connection overall. The support in his voice is quite stable and he’s been able to carry it up to D4 consistently, such as the C#4’s in “다시 사랑한다 말할까” and the C4’s and D4’s in “Believe“.
Whenever Junho sings anywhere above D4, his voice becomes lighter in tone and more closed, due to the tension present in his throat. This causes his overall sound to be more swallowed up and pushed out with less chest resonance and less power, but still is able to project through his singing by placing his voice more so in his nose. The fact that Junho places his voice in his nose adding to the tension present in his throat and the high larynx above D4 is what causes Junho to be unable to produce true resonance in his singing, even if he’s able to project above D4. Examples include the Eb4 in “Say Yes“, E4 in “I Want You“, F4’s in “문득” and “Goodbye“, F#4’s in “다시 사랑한다 말할까” and “Love Is True“, G#4’s “향수” A4’s in “너만의 남자” and the B4 and D5 in “Dangerous“.
A highlight of Junho’s voice is how he manages to make his singing more marketable by using his falsetto a lot more. Falsetto for a baritone can allow them to sing in a more tenor-like range more often, which to the general public is more appealing than singing very low notes. Stylistic it seems that Junho generally favors his falsetto and he has shown really good improvement in this area of his voice. In the fourth octave, he’s able to show good placement and often projects well in his falsetto with more or less smooth transitions, such as in “향수“, which is an improvement from earlier in his career, such as in “Nice & Slow“. Generally in the fourth octave he is able to produce a nicely relaxed falsetto and at times even place it in his head more so than in his nose, such as in “Six Beautiful Days” and “君がいれば (If You Are Here)“. Anywhere above B4, his voice becomes more placed in the back of his throat and his nose and loses that relaxed feeling he has in the fourth octave, having a more high larynx and tense sound with more airiness in tone, such as the C5’s in “Believe“, D5 in “Fire” and “Nothing Better” or more of a pushed whiny quality when he tries to be louder, such as the E5 in “I’m In Love” F5 in a fan signing and the F#5 in “目を閉じて(Close Your Eyes)“. Nonetheless, all Junho has ever been able to produce is a falsetto and therefore he’s never explored the full potential of an actually connected and developed head voice.
Out of all the members of 2PM, Junho is the one member with the best dynamic approach and control in his singing due to the fact that he has the least amount of tension in his voice and the least amount of bad habits, being able to connect his vocal cords properly and add that into his vocal performances. Although his support is the strongest in the group, he still uses a shallow breathing technique and often creates tension by breathing deeply into his chest instead of his diaphragm, making way for neck and throat tension to happen in the middle of his singing. Nonetheless, he’s shown great improvement throughout the years with more support, better legato and overall better tone production, as one could contrast by comparing his singing in “Only You” to his singing now.
For future improvements, to be taken seriously as a vocalist and solo artist, going deeper into proper breath support, as well as good vocal placement would be imperative. Learning how to eliminate nasality, raising his soft palate, keeping a neutral larynx and exploring the fulness of developing his chest voice muscles in order to not only add more roundness in tone to his mixed voice and more depth and color, but also to fully explore the rest of his lower range. As a baritone, Junho should learn how to sing as a baritone and not have to sing like a tenor in order to fit into a “pop genre”, being able to sing with his own voice.
Musically Junho does not attempt very different vocal approaches to his songs. He often opts for more falsetto than high belting and does not choose songs that require him to sing too high for his overall range. There have been occasions where he’s shown to play around with his vocal performances and add new melodic changes to the overall song, but not too often nor too drastic of a change, such as the G5 in “I’m In Love“.
Label (Type of Vocalist)
M Vocalists: Mid-Range Vocalists
Vocal Range Video(s)
Videos by: Kristie Lim
Best Vocal Performance(s)
Analyzed by Ahmin (Kitsunemale)