The BOSS/DGNA’s Vocal Analysis: Mika

Vocal Range

C3 ~ Bb5 (2 octaves and 5 notes)

Supported Range

Eb3 ~ G#4

Eb3 ~ D5/Eb5 (with head voice)

Voice Type



  • Second strongest vocalist in The Boss
  • Resonance is produced with a degree of consistency
  • Able to choose placements in his mix
  • Lower range remains supported down to Eb3
  • Able to sing with a supported connected head voice
  • Mix voice maintains consistent support up to G#4
  • Support in head voice is consistent up to Eb5

Points for Improvement

  • Under-explored lower range, bottom of his support is unclear
  • Some issues with vowel shapes tend to close his throat
  • Nasality can happen
  • Inconsistency with proper placement happens around G4/G#4
  • Head voice can become very pushed and piercing above Eb5
  • Above G#4 mixed voice becomes thin and squeezed


  • Lower register: Mostly able to keep tone down to the lowest note he’s hit to date, but support and projection start to disappear below Eb3. Chest placement and connection is kept throughout.
  • Mixed register: Mixed voice is bright and well-placed most of the time. Forwardness is present throughout, although sometimes nasality can happen. Tends to squeeze his throat above G#4.
  • Upper register: Able to use a connected head voice with consistency, able to maintain control of pitch, transitions and volume with support up to Eb5, but above that he tends to push his head voice out with too much air pressure.


As opposed to many other idol vocalists, Mika seems to take less risks in his singing and does not often attempt very complicated vocal runs. Most of the time, all he sings are quick trills, which are often done with good rhythmic bounce and accurate pitch. He’s able to sing around small quick intervals of two or three notes correctly and smoothly, as heard in “Billionaire“, “Take a Bow” and “Jam Session.” When he does sing longer runs, although still relatively slow, there is a tendency to aspirate some of the vowels. So instead of singing a single vowel sound throughout a run, he tends to add H sounds to facilitate the control of his pitch, as heard in “본능적으로” and “Down.” That, however, can lead to a bad habit where he’s unable to sing faster runs with accuracy due to the incorrect muscle memory he’s using, as one could note in “Love Power.”

Overall analysis

Originally debuting as a third generation member of Xing, alongside Hyunmin and U-Kiss’ Kevin in 2007, Mika went on to debut again in 2010 as the main vocalist of DGNA, also known by their international name The Boss. Mika’s voice is very bright, mostly comfortable at a higher range, and quite light in weight. Most likely to be classified as a light lyric tenor, he is one of the 3 tenors in the group alongside Karam and Injoon. Unfortunately, The Boss is less popular and less known internationally and in Korea than in Japan, so they lack a variety of performances in many Korean TV shows centered around singing.

The lower portion of his range is generally well-connected, and tone is present even to the lowest note he’s sung to date, a C3. However, due to the nature of The Boss’ music in Japan, it’s rare to hear moments in which Mika is really challenged to sing low. Most of the time, Mika and Hyunmin sing the choruses of songs and thus never truly are able to explore the full extent of their lower chest voices. Mika’s lower range is questionable in terms of support since there are moments in which he sings low live compared to in studio. Judging from studio and live performance, it’s possible to hear a lack of projection and support as he sings below Eb3, where his voice seems most comfortable and he’s able to project with the most support and chest placement. This can be heard by the E3’s in “Lonely” and “Take a Bow“, contrasted with the C3’s in “Girlfriend“, C#3’s in “Promise“, “Pretty Smile“, and D3’s in “Love Parade” and “二人の好きな茜空.”

His mixed voice is the most used portion of his range, where he is able to show exactly where his voice shines. His mixing technique is generally bright, and he doesn’t often pull too much chest up in his mix. He’s able to balance out the ratio of chest and head voice in his mix quite well and is able to maintain more ease as he sings higher in his mix. He’s often able to lift his soft palate and produce quite consistent resonance, where his voice is opened and forward. This can be heard in the F#4’s in “Dazzling World“, “Love in the Ice“, G4’s in “Billionaire“, “This Love” and G#4’s in “Sakura“, “Rilla Go” and “청혼.” Above G#4, he tends to sing with a high larynx where his voice becomes slightly more shouty and squeezed, as heard by the A4’s in “Shine“, Bb4’s in “Lady” and B4’s in “Angel” and “We Are Together.” Another issue he has in his mix is that, oftentimes, he tends to shape his vowel in a way that causes him to produce less resonance, closing his throat more than necessary, usually happening on the Aye (애) vowel, as heard in “奪いたい今すぐに” and “청혼.”

His upper register is generally quite well-connected and supported. He rarely uses a falsetto and mostly opts to sing with a more connected head voice, allowing him to truly control his pitch and transition smoothly from his mix to his head voice. He shows a lot of control in his mix and is able to maintain a relaxed approach with good placement up to Eb5, as heard by the B4’s in “고백“, C5‘s and C#5‘s in “In the Jungle”, as well as the Eb5’s in “동경소년” and “Love Power.” Above Eb5, he has the habit of adding a lot more vocal pressure to his head voice and pushing his sound out with more air pressure, resulting in a more mask placed strained head voice. The piercing quality makes it hard for him to control the volume, which makes it sound quite loud and tense, as heard in the F#5’s in “Calling You“, “고백“, G#5’s in “Friends” and Bb5 in “Lady“, or he becomes thinner and tighter, such as the A5 in the studio version of “Sad Story.”

Musicality wise, Mika has very good control of his voice overall. He’s able to maintain just the right amount of air pressure to keep his voice projected and yet relaxed. He doesn’t tend to push out his volume; and within his supported range, he’s able to control his mixing quite well. At times, he tends to let go of diction, becoming more nasal depending on the song he sings or sounding more closed. Overall, he’s able to at least maintain quite consistent support within his supported range even if placement and openness may be lacking at times.

For the future, the main focus for Mika as a vocalist should be singing songs that actually allow him to explore the full extent of his voice. He’s yet to show a full three octave range, which he’s most likely more than capable of doing. However, due to the nature of their genre in J-pop, he tends to not sing as low as he might be able to. Focusing on more solo singing with songs that truly challenge him, as well as allowing himself more exposure within Korea to make a name for himself in programs such as Immortal Song 2 or King of Mask Singer could give him more motivation to work on his lower range and the rest of his voice.


Harmonically, The Boss is a group that performs exceptionally in many areas of music. All of the members have a talent aside from singing, being able to play a number of different instruments. Aside from that, each member is able to hold their own parts in many acapella covers they’ve done. Usually Mika and Hyunmin take the lead, with Jay taking the bass, Injoon beatboxing, and Karam taking the middle or upper harmony. Musically speaking, Mika is able to add his own musical ideas to songs occasionally, although results may vary depending on what part of his range he’s singing in. An example would be his addition of a Bb5 to a performance of “Lady“, where originally he’d sing a Bb4. Instead he opted to jump up the octave, which resulted in a strained somewhat flat head voice instead of a more clean and pitch centered mixed voice Bb4.

Label (Type of Vocalist)

MH Vocalists: Mid-Range Head Voice Vocalists

MB Vocalists: Mid-Range Belters

Best Vocal Performance(s)

Analyzed by Ahmin (Kitsunemale)

20 thoughts on “The BOSS/DGNA’s Vocal Analysis: Mika

  1. Are the rest of the members (not including Hyunmin) weak? I didn’t know about their existence until I read these two analyses and I’m very surprised at their Love In The Ice cover, they’re really good.


  2. Ah! I’m so happy to see members of The Boss/DNGA on here! It was such a pleasure reading about Mika and Hyunmin, thank you for your very thorough analysis on them. I wish more people knew about them and thus got them more chances to be exposed on shows like Immortal Song and Mask Singer.

    Liked by 2 people

  3. Thanks for analyzing not just one, but two members of DGNA. For a group who was initially presented as the next DBSK, they unfortunately haven’t gotten much exposure over the years (not to mention that awful mess with Open World). But it looks like more people are learning about the group thanks to this, so I’m grateful!

    Liked by 1 person

  4. Wow I always thought he’s the strongest in DGNA. Too bad they hadn’t have a comeback over a year in Korea, they should really appear on Mask Singer.


  5. I thought of this question as I saw Mika’s head voice, and I’ve taken my time thinking it over so that any of this blog’s analysts could maybe chime in. A male or female that supports an octave from his/her first passagi in head voice or falsetto has an average development. That octave and a full note above that would be above average. Two full notes + that octave, proficient. I hope you caught my train thought. In other words, would this be a nice way to think of head voice criteria?
    I also notice it’s an imperfect system because we have tons of vocalists in the blog who can sing well above that octave without tension but they never connect their vocal cords and support the sound.


  6. Hello, I’m back with another vocal recording. I don’t know if you remember me. Okay, so I got really sick since then. Suddenly my voice changed. It got a a lot thiner yet I still find my voice to be really heavy. Is it unnatural? I wanted to do this before the semester starts so I didn’t have the lyrics memorized so my pronunciation is way off. I apologize. It’s also why I get a little pitchy here and there. I tried to experiment with the second verse and sing utilizing my chest voice more. Idk what I’m doing. Though for the first time in forever, I felt like I had very minimal tension when I sing. I guess that’s good. Anyway can you please tell me what I need to work on. Also regarding pitch, I actually have a good sense of it. When I am singing scales I sing on pitch yet I tend to fall flat sometimes. Why may that be? Thank you for all you work and answering my rather basic questions.


    1. Hi dear. ^ ^ I looked up your comment but I don’t remember the other recording, tho I did see the comments I made about your singing which gives me an idea of where you were before. You tend to use your throat a lot and you’re still sliding down and dancing around the pitch. As you get to the chorus you’re singing a lot of Bb4’s and you sound like you’re straining your neck by squeezing your throat upwards and that makes you sound really tight throughout, really squeezed. You need make sure you don’t use your throat so much, don’t push so hard and try to use a more relaxed and lighter approach, don’t try to be as loud as you were trying to be. I’m listening to another recording, are you singing in an Indian style? Because you control your voice a lot better there, so if this is why you’re used to singing this way, it might be why when singing contemporary styles, you have issues not using your throat to sing. Your tendency to fall flat is mostly due to improperly formulated muscle memory, you just need to retrain your muscles. A lot of times diction is actually what’s causing to be pitchy, like in Count On Me, you’re not opening up your throat enough and you’re not pronouncing things clearly enough and it’s a bit slurred, your timing is a bit off too. Also breathing, you need to watch out for the times you breathe because you tend to keep singing for as long as you can instead of breathing at specific times. Try to match how the original singers sing and where they take breaths as well. When you’re sick your vocal cords get swollen so you get thicker and your upper range becomes thinner it’s common, don’t worry. ^ ^


      1. I mean the Indian style doesn’t like to use head voice or falsetto; however all other aspects of technique are similar. In fact many professional singers say that they actually do utilize western singing technique in their singing which brings me to this. The problem with Indian music is that they never put an emphasis on vocal technique. That’s why my music teacher along with many others lose their voice by the time they’re 30. It strains the vocal chords. There are also people who can sing even where they are 80 because they naturally have a sense of technique. I know that I push too much because I naturally have such a loud voice and I feel fatigued after I sing, both contemporary and indian. In the past, I’ve had some bad teachers tell me to control my voice to sing softly and so I began singing with so much tension and still do. They tell you to lighten up as you sing higher but I don’t understand how I can do that. What should I do to retrain my muscles? And yeah, I’ve always had a problem with pronunciation. I should focus more on that. Also, thank you so much for telling me this. This had been bugging me for a really long time.


      2. I think another thing I notice with Indian music is that it seems to be very limited in range and to an extent dynamics, so being able to sing it is a little less demanding to the muscles. It’s not just Indian music, it’s many types of traditional music like Flamenco from Spain and Pansori from Korea, even at an early age their voices are practically gone. Well to retrain your muscles you have to start singing in a completely different way than what you’re used to, one way to do it would be singing songs that you’re not used to singing. Britney Spears’ Everytime comes to mind because it’s around B4 but it’s soft and easy the whole time, simple melody, simple song overall, it’s not challenging but it can help you retrain your muscles.


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