Eb3 – E6 (3 Octaves and 1 semitone)
G#3 – C#5
- Healthiest technique in Mamamoo
- Most balanced mix in Mamamoo
- Strongest lower register in Mamamoo
- Able to support down to G#3
- Consistent resonance is achieved up to C#5
- Able to sing in a relaxed falsetto up to G5
Points for Improvement
- Resonance is often pushed
- Sings with a high larynx above C#5
- Loses support below G#3
- Placement can become nasal when not careful
- Sings with falsetto rather than head voice
- Runs can often be sloppy
- Lower register: Able to support down to G#3, notes below this become unsupported and airy.
- Mixed register: On the chesty side. Able to achieve a pushed resonance consistently up to C#5. Notes above this often become strained with a high larynx.
- Upper register: An airy, disconnected falsetto. Able to sing with a relaxed sound up to G5, above that falsetto gets thinned out and shrill.
Attempts runs often, but lacks the proper precision and note separation. Much like fellow Mamamoo member, Solar, Wheein’s runs often sound like they are more random than well thought out in musical direction. Most of her runs tend to come out without a single musical idea and her delivery is mostly of sliding through the notes up and down, without any significant musical reasoning to her melismas, often causing them to sound sloppy and out of place. This is also caused by her being unable to properly separate each individual note in her runs and thus not being right at the center of each individual pitch, as heard in “The Way To Sampo“, “Flying Into The Night Sky“, “Backwoods” and “Wait A Minute“.
As a lead vocalist of one of Korea’s most well rounded female idol groups, it would be of no surprise that Wheein would stand on her own as not only a skilled technical vocalist but also a powerhouse singer. Having debuted in 2014, Mamamoo has already made a mark for themselves by showing off their musical skills that lie on well blended harmonies as well as well polished vocals. Wheein generally serves as the second highest vocal in songs and takes on the upper harmonies in songs, as well as serving as a softer brighter vocalist compared to the raspiness of Hwasa and the power of Solar.
Starting with her lower register, Wheein is able to bring a supported sound down to G#3 and even though she loses support, still has tone as she descends down. Compared to the other members of Mamamoo, she is the member with the least tendency to lower her larynx as she ascends below her supported range, generally keeping a more neutral larynx approach which allows her to produce these lower notes with more ease even if the support might still need to be worked on. Examples of Wheein’s support include the A3’s in “Flying Into The Night Sky” and the G#3’s in “The Way To Sampo“. As she descends below G#3, her tone either becomes airier and lacks clarity, such as the G3’s in “Short Hair“, the F3 in “Backwoods” and the E3’s in “Memory Of The Wind“, or her voice just becomes quieter with less support but still enough chest placement to properly project her lower range, such as the E3 in “Save Me From Myself” and the F3 – Eb3 in “Nothing Better“, where there’s a slight push of the larynx to reach her current lowest note, Eb3.
Continuing on, Wheein’s mix, despite still being chesty, is the most balanced in Mamamoo. Because of this, she can mix even as high as A5. Despite her extensive mix range, support and resonance is only carried up to C#5. Having a brighter mix, however, allows Wheein to have the most relaxed resonance out of the three vocalists in Mamamoo, making her approach to the fifth octave less pushed and more well supported, as heard in the B4’s in “Delilah“, the C5’s in “Wait A Minute” and “Memory Of The Wind” and the C#5’s in “Passion Flower“. Above C#5, she generally sings with a high larynx but is still able to sing up in that range with the least amount of strain and the most brightness in tone, as heard in the Eb5’s in “Passion Flower“, the E5’s in “Short Hair” and “Delilah“, and the F#5 in “Backwoods“. Even above her supported range, good placement is kept even if support is lost.
Wheein’s upper register also happens to be her weakest register. Being a rarely used overly airy falsetto with no actual connection to the body all the way up to E6. Much like the other Mamamoo members, Wheein has not yet showcased the ability to sing with a connected head voice, instead singing with a more disconnected vocal cord approach where the vocal folds don’t come together completely, allowing too much air through. This does not allow her to sing with a true head voice and really explore head resonance in her upper range. This can be heard in “Wait A Minute“, as well as in “쿨하지 못해 미안해” and “Short Hair“.
With a group of three ladies who have very similar vocal habits, similarly developed register and similar supported ranges, it’s the little differences in style that truly help them create individuality while not trying to outshine one another as well. In order to further improve their vocal technique, every Mamamoo member should invest their time into easing up on the chest dominance in their mixed voices, as well as developing truly connected head voices to further take on the K-pop industry with even more powerful vocals. As of now, Mamamoo is one of the female vocal groups with the best average for vocal technique and Wheein stands as the member in Mamamoo with the healthiest vocal technique out of the three vocalists, even if by very little.
As a Mamamoo member, the group and members follow the trend of vocalists who help one another by instead of shining more individually, they learn to make their voices match and blend well with each other through harmonies. All of the members of Mamamoo possess great skills of using different uses of style and learning to correctly understand each other’s voices to match volume, pitch, tone quality and produce clean and well rehearsed harmonic performances, such as in “쿨하지 못해 미안해“.
Label (Type of Vocalist)
MB Vocalists: Mid-Range Belters
ML Vocalists: Mid-Low Range Vocalists
Vocal Range Video(s)
Videos by: Hawaiipups and kpopvocalists
Best Vocal Performance(s)
Analyzed by Haruko & Ahmin