Park Hyoshin’s Vocal Analysis

Vocal Range

F2 ~ A5 (3 Octaves & 2 notes)

Supported Range

B2/C3 ~ B4/C5

B2/C3 ~ G5/G#5 (with head voice)

Voice Type



  • Able to support his voice consistently
  • Huge improvement shown from his debut days until now
  • Mixed voice has great placement
  • Resonance can be produced as high as C5/C#5
  • Lower range shows support down to B2
  • Head voice is very well connected and often resonant
  • Head voice support is heard up to G5/G#5
  • Vocal runs are often smooth, articulate and accurate
  • Column of sound throughout instrument is quite even

Points for Improvement

  • Vowel sounds are often too narrow
  • Occasional nasality can be present
  • Lower range becomes airy below B2
  • Mixed voice shows inconsistency often due to questionable stylistic choices
  • Head voice becomes pushed above G#5
  • Often improper shoulder posture while singing
  • Compresses sound of his voice in his upper range


  • Lower register: Shown considerable improvement since but would still be considered his least developed register. He often sings with a softer approach in his lower range. Though support may be used, his vocal cords remain weaker as he descends lower in range.
  • Mixed register: Shown huge improvement since debut. Able to produce resonance from the time of debut, but has since changed the way he plays around with his resonators. Mixed voice can be resonant even as high as C#5 at times, even though the consistency is questionable.
  • Upper register: Always has opted for a head voice over falsetto. Since his debut, he used a very well-connected head voice. Transitions have always been fairly smooth but with the lightening up of his instrument, he was able to create a much better evenness from his mix to his head voice.


As soon as Park Hyoshin debuted, his style was greatly influenced by soul music. He would emulate a sound that wasn’t natural to his voice to sound fuller and thicker. Not only that, he would also add vocal runs and embellishments to his vocal performances. As he aged and matured, the complexity and accuracy of his runs improved greatly as well. Since his debut, he’s been able to manage singing very simple trills and mid speed runs with decent separation of pitch and accuracy, such as the runs in “해줄수없는일” and “동경” but whenever runs would get faster and more complex, with more notes to be sung within less time, he would skip through notes without clearly hitting them all and thus sound quite sloppy in his delivery, as heard in “Run To You.”

Gradually he improved his ability to sing runs by emulating the runs of other vocalists as well as learning to hear simpler runs before attempting more complex ones. This can be heard in his duet with veteran vocalist Ann where she sings a simple run to end her vocal line in “A Whole New World,” and Park Hyoshin follows shortly after singing the same pattern of notes. This helped him clean up his approach to runs and with the change in placement in his voice, it helped him carry less weight in his mix. With the lighter approach, his voice became more flexible so he is able to perform runs with a lot more ease, often transitioning into his head voice with just as much ease. His more complex runs can be heard in “해줄 수 없는 일,” “좋은 사람,” “Der Letzte Tanz,” “Whenever, Wherever, Whatever,” and “It’s Gonna Be Rolling.”

Overall analysis

One of the most peculiar and often discussed things amongst the public happens to be Park Hyoshin’s voice type. Due to a huge misconception, it is often believed that the thicker the tone of the voice, the lower the person’s voice is. However the issue with trying to give someone a voice type based off of the tone quality of the voice is that in pop music, tone is often stylistically changed. A person may have a husky quality to their voice due to stylistic reasons, natural causes or even improper technique. So oftentimes Park Hyoshin is mislabelled as a baritone because people believe that a baritone has a “thick voice,” and therefore anybody with a thick voice must be a baritone.

Contrary to common belief, one’s voice type should be found by looking at their passaggi, instead of their tone quality. The tone quality will tell the listener the specific fach of a vocalist, however the main aspect of one’s voice type is mostly found by the natural passaggi. So the notes in which the voice naturally switches in tone quality and muscle coordination from chest voice to mixed voice and from mixed voice to head voice. Thus although it may have been believed that Park Hyoshin was a baritone, he lacks the bass-quality in the second octave portion of his range. His mixed voice doesn’t start until about D4, which indicates that his voice sits much higher than even a lyric baritone, whose mixed voice starts around B3. As such Park Hyoshin is and has always been a tenor who, due to the large size of his voice and its natural thickness, seems more likely to be a spinto tenor or perhaps a full-lyric tenor.

However even his thickness was also quite closely related to his technique. When he debuted, he would often sing in a range where usually a tenor would sing. His debut song “해줄 수 없는 일” actually peaks at B4 quite a few times while only going down to B2, which sits quite comfortably within a tenor range but would be very high for a baritone. His approach to singing when he first debuted and for about 7 years of his career mainly revolved around pulling his chest voice as high as he could while placing the sound quite low in his chest even in his upper mixed voice, as well as singing with an unnatural pushed down larynx position. This resulted in a heavier sound in his higher notes. He also would often lower his larynx and push the sound of his voice back into his throat for his lower range, so his lower notes would sound thicker and lower than they actually were. He would often sound quite muffled and not project even around E3, which if he were a baritone would be far too high for him to have issues with projecting in his lower range.

Placement plays a very important role in the quality of one’s voice. If someone uses a chest placement in their voice, their sound will have more bass overtones and therefore sound thicker and lower. If one’s chest voice is placed too low in the chest and then there’s a sudden change in placement as they go up to their upper range, there seems to be a very large gap in their voice. However if the lower range is placed slightly higher, moving from the chest voice to the mixed voice and to the head voice can become much easier. If the placement of sound is closer, then the gap between the notes sounds much narrower and the voice is a lot freer to move. This was the case with Park Hyoshin’s change in technique, one of the biggest changes in how he sings.

Since the beginning of his career, he would use a very thick approach to his chest voice. He would often sing with a lowered larynx, so the sound of his chest voice would come off muffled and artificially thick. He would let his low larynx accompany even notes as high as E3, so his lower range was often very quiet and would not project properly at all. This can be heard when listening to the B2’s in “해줄 수 없는 일” as well as the E3’s in “A Whole New World.” However as his technique progressed over the years and his stylistic choices became less focused on thick singing, he started to employ a much lighter approach to his voice and higher placement in his singing. So notes that were once barely projected would now sound a lot more forward and present, without sounding too thick or pushed.

Even if is singing as low as B2, as he does now in “해줄 수 없는 일,” even though the notes are just as low as they’ve always been, the sound is much clearer and he’s able to project his voice with a lot more ease. This can also be heard with the E3’s in “내가 너의 곁에 잠시 살았다는걸,”D3’s in “Der Letzte Tanz,” C#3’s in “아프고 아픈 이름,” “My Way,” “사랑합니다,” “All I Ask Of You,”and C3’s in “Listen,” ” and “눈의꽃.” This also showed very good improvement in the connection of his vocal cords and the position of his larynx. Instead of pushing it down, he learned to keep it at a higher neutral position so that he wouldn’t closed his throat and so his muscles were able to develop better in his chest voice. Even when support isn’t as strong, he doesn’t push his larynx down as much, as heard with the Bb2 in “Happy Together.” Below that range though he still shows little to no support, as heard with the G#2’s in “All I Ask Of You,” as well as the F#2’s in “취중진담.” Despite the lack of support and connection in his vocal cords, he doesn’t push his larynx down nearly as much which is much healthier and strains his vocal cords a lot less.

This overall change in placement is also very noticeable in his mixed voice. However instead of losing the chesty quality he is known for, he is now able to project with a lot less weight in his voice but still remains quite powerful and is able to chose when to add more chest or less in his mix. When he first debuted, his approach to singing would be by pulling his chest voice as high as possible even in his mix. Thankfully, Park Hyoshin was able to grasp the concept of proper breath support without being taught to sing. This helped him be able to sing with natural ease even if his technique wasn’t exactly proper. So as high as F#4, he was able to produce resonance, as heard in “Run To You.” In 2007, he claims to have wanted to change his approach and through the years, one can hear the gradual change in the sound of his voice when he sings.

When comparing the way he approaches his upper mixed voice range, such as the B4’s from “해줄 수 없는 일” or the A4’s from “Run To You” to the B4’s in “좋은 사람” or the A4’s in “Der Letzte Tanz,” the change is actually quite drastic. Most of the change happened because instead of pulling the sound from his chest, Hyoshin learned to use the sound a lot more forward and lean it into his mask. The result is a much lighter approach which does not take away power from his voice and actually allows for him to sing higher passages with a lot more ease and a lot less strain. However the lack of chestiness in his mix has also narrowed the quality of his resonance. Whereas before his resonance would often come off as full and heavy, now it’s become a lot brighter. The change in placement added a lot more treble overtones to his singing, which make him sound a lot lighter.

Resonance in his mixed voice is produced quite often. The biggest change happened above G#4/A4. Although support was present that high, the sound was so thick and pushed that he would stay stuck in his throat the higher he went. However the way he sings now is so much brighter than he has to use a lot less air pressure to sing. With the amount of natural weight his voice has and the size of it being naturally large, when he sings with full power he is able to fill up his voice with enormous volume. It’s actually quite impressive how well controlled the dynamics and placement are in his voice. He can go from a very light approach in phrasing G#4’s such as in “추억은 사랑을 닮아,” to a much thicker and fuller sound on the same exact note, such as in “Der Letzte Tanz.”

Dynamically he is very much in control of his voice. On top of that he has great stamina and is able to sing a musical phrase without taking many breaths. One very famous song is “야생화 (Wildflower)” where the climax of the song goes from G4 to Bb4 to C5, with a descending run at the end. This lasts for a full 12 seconds, all in one breath. Considering how high it is, most people would struggle to manage the air to keep going higher and higher without running out. Most vocalists who sing this line, namely Bada and Kyuhyun, add a pause between the last two notes so that they can catch their breath. Hyoshin never does so. Resonance in his mix can be heard also in the F#4’s in “My Way,” G4’s in “좋은 사람,” G#4’s in “아프고 아픈 이름,” A4’s in “It’s Gonna Be Rolling” and “못해,” Bb4’s in “Gift,” “Home,” B4’s in “It’s Gonna Be Rolling,” and C5’s in “사랑 사랑 사랑,” “Listen” and “야생화.”

As time passed, raspiness has replaced the known huskiness of his voice. To an extent the raspy quality of his voice is somewhat stylistic but also natural. He can go from phrasing raspy Bb4’s in one song without necessarily hurting his throat, as heard in “,” to producing sustained and resonant Bb4’s on a different song in the same night, as heard in “Happy Together.” At times his stylistic choices may make one question his consistency, but the quality of his singing up to C5 is completely his choice. Be it headiness, higher placement or even nasality. He does have the tendency to narrow his vowel sounds and not open his mouth much depending on the song, but when singing musicals he has very good diction and nasality is rarely present, showing even more control and awareness of how he wishes to sound. There is an added pressure in his mix that somewhat compresses the sound. He tends to use too much compression of his vocal cords at times and have some neck tension as well, which although is minimized by his placement, can still be harmful. Although resonance has been heard up to C#5, the consistency is questionable and he tends to sing with a high larynx above C5.

The one register where very little change can be heard is his head voice. Hyoshin was never one to use falsetto often and has always had a very good idea of how to use his voice. His transitions to head voice have always been quite smooth and he never struggles with pitch accuracy. His head voice did improve in development, it became richer, fuller and resonance has been increased, but he had the least bad habits in his voice. His head voice was also his most agile register when he first debuted. Moments of support in his head voice can be heard with the B4’s in “Baby Baby,” C5’s in “Whenever, Wherever, Whatever” D5’s in “동경,” E5’s in “해줄 수 없는 걸,”  “사랑 사랑 사랑,” “Run To You,” and “그곳에 서서” F#5’s in “Der Letzte Tanz” and “The Dreamer,” and even G#5’s in “좋은 사람.” The highest head note he’s peaked at is an A5 in a live performance of “해줄 수 없는 일,” where his head placement remained good throughout but there is an added pushing to his approach that caused him to lose support in that range.

Unfortunately as an artist Park Hyoshin did have to make a sacrifice, which was losing the sound he was known and loved for. This was not met with the best reaction from his fans, as many also demanded him to go back to his old ways. However he was very professional about his choices. His change in technique are very commendable because he wasn’t taught to do it; he did it on his own. He changed how he sang because he felt the need the need to do so and the result was a much more evened out instrument. His change in placement and changing his larynx position allowed him to have an even scale from the bottom to the top of his range, which currently sounds a lot more natural to his actual voice. He isn’t trying to sound like his voice is thicker than it actually is. He doesn’t need to use a lot of heavy low placement to show power in his voice. Instead of losing power, he gained ease and developed a much healthier approach to his singing. There’s still room for improvement however if he chooses to further develop his lower range or his head voice, or manage the tension above C5 in his mix.


Park Hyoshin as a vocalist always took the liberty of performing other vocalists’ songs and adding his own musical ideas to them. However as time progressed, he matured into a much more confident vocalist over the years. By maturing, he was able to establish his musical identity with a lot more conviction. Considering how long his career is, performing the same songs over and over again can become quite tedious. So when he became more than a ballad singer and developed his songwriting skills, he became a lot more comfortable with changing the adlibs of many of his classic songs, showing that he is not afraid to perform the same song over the years with different melodic ideas and improvisations throughout. He has shown that he can break a song down into a clean acoustic version or even make a song much more complex than initially thought.

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

S Vocalists: Stylistic Vocalists

Best Vocal Performance(s)

Vocal Range Video(s)

Videos by: HS BEYON

Analyzed by Ahmin (Kitsunemale)

174 thoughts on “Park Hyoshin’s Vocal Analysis

  1. Hallo Ahmin! How are you doing? (I hope that this didn’t sound way too informal). I wish everything is going well with your new life in Korea. I don’t know if you remember me but I took the courage and wrote other two comments, in which you responded (you can’t imagine how happy I was when I saw you answered, I was literally fanboying) and I couldn’t be more thankful about it. Also I know that you are very busy and I completely understand if you don’t see my comment but in case you do and you have time, I would like to have a little discussion with you about something. Firstly before I asked my question I would like to clarify that my training is mostly classical. But because my teacher has graduated from one of the most well known and respected universities in my country as voice instructor, her views about vocal pedagogy seems to be exactly the same as yours . Well at least about the part, which is related to the anatomy of voice, diaphragmatic engagement and support, resonance etc. Of course there are differences because in opera we prefer darker placements, muscle coordination with more weight and a slightly lower larynx (at least in bel Canto and Wagner, because Verdi is a whole other story). But when we talk about contemporary singing she agrees with a more bright forward placement and a balanced mix(and of course the ability to change the ratio of your mix at will) just like you . Anyway I said all that to explain why I have a certain belief about the question I am going to make. I would like to ask about Park Hyo Shin’s voice type if you don’t mind. I completely agree with you that he is a tenor. But when he sings in musicals and doesn’t make some of his questionable stylistic choices like closed diction, nasality, raspiness etc and he sings more open, due to his volume output, warmer timbre and size of his voice, he reminds me more of a spinto tenor than a full-lyric. I know that in contemporary singing sub voice types are not important but I just wanted to hear your thoughts about it or what made you come to that conclusion. I am very sorry if I sounded rude, that was not my intention at all. I have a huge respect for you as a person and for your knowledge and credibility as an instructor (I have literally read all the analysis and the comments) and I don’t say, of course, that I am right but this thought about his voice type is bothering me for quite a long time.
    Well sorry for the long comment, I hope that it isn’t tiring for you and as I said before I understand completely if you don’t answer. Also sorry for my English, I hope you can understand the process of my thought. Wish you health and hapinees!!! Have a nice day😊
    (PS: Lowkey waiting for your next television appearance and singing showcase)


    1. Oh baby, no. You don’t sound too informal, you’re perfectly fine! Oh no I do remember you quite well dear!! Yes, of course we can have a little discussion. No actually that’s interesting you mentioned that because not only have I found it difficult to find sources for “full lyric” voice types at all, I actually go to school with a lot of classical students. Out of these students, one of them is this older hyung that I know who has a very extensive mixed range and can sing very low too. He was miscategorized as a baritone before and then now he’s considered a tenor and he said his instructor called a spinto. Now he started imitating Park Hyoshin and singing his songs, and he sounded exactly the same. And it got me thinking damn..Park Hyoshin might a spinto, which I recently said on my twitter actually. Now I have seen sources separate light and full lyrics in the soprano fach but I’ve never really found sources for other voice types. I assumed it’d be possible for tenors, but I am not 100% it’s true or not. Now for Park Hyoshin, I agree with you. Not only him but also Han Donggeun, whose video I’ll link at the end. I’ve always considered Han Donggeun a tenor but not a lyric. A low tenor is what I settled on cause I don’t have the training to voice type him. But after hearing that hyung imitate him too and sound exactly the same, I felt more comfortable assuming he might also be a spinto. Now with Park Hyoshin, on top of having amazing technique he is definitely not a light lyric. Assuming light lyrics and full lyrics exist for tenors, I knew he wasn’t a light lyric. Now I didn’t want to make the assumption that he’s a spinto because at this point, I didn’t have a guide for what a spinto is supposed to sound like in pop music. So when I heard that hyung, I suddenly had a realization that Park Hyoshin is THE example of a well trained spinto in pop music. Which explains why people often assumed he was a baritone. I know some people have said Michael Bolton might be a spinto, which could be true. You don’t sound rude at all, actually very far from it! Now I agree with you, I do think Park Hyoshin is a spinto. I still think K.will is a lyric, if full lyric is a thing then a full lyric. I am not sure about Jung Dongha nor Lim Jaebum. I thought Lim Jaebum was a baritone for the longest time but he mixes up to B4 too naturally for me to not reconsider. Actually recently I started to question Hwanhee’s voice type as well and I don’t think he’s a lyric baritone anymore. I think he might be a dramatic tenor. Which again, is a very dangerous statement to make in pop music.

      Oh dear, I think once being on TV was enough. I won’t be on TV again for sometime haha Who knows?

      Here’s Han Donggeun.

      Why don’t you tell me what you think about Lim Jaebum, Hwanhee and Jung Dongha? I’d love to have more discussions about voice types that aren’t lyrics.


      1. how about we throw Son Junho in the discussion too Hmm ? the thing you miss completely is how there’s no way hwanhee is any type of tenors with the way he sings in the low range specifically below E3 , it all about the intensity and timber sound in the low notes that is different than any tenor voice,no matter how good the low notes of the tenor are and that applies to any good low notes tenors here from Chen to park Hyo shin . the way they sound in the E3-G#2 range is way different from the way hwanhee sound even though he makes the bare minimum down his low range add to that the way he sounds in the Eb4-F#4 range , i do agree that hwanhee is not a lyric baritone but he’s definitely not in the tenor spectrum.
        i don’t have the ear to discuss vocal type very thoroughly but like i said before it unnecessary when it pop thin mixed voice with always a degree of squeeze/stress


      2. Why are you so aggressive? Did anyone here do anything to you? And please don’t act like you’re not being aggressive. “how about we…hmm?” the attitude in that sentence was purposely written in there. If he’s not a lyric baritone and yet carries seamless weight up to G#4 consistently with support and resonance, but he’s not in the tenor spectrum are you going to tell me he’s a lower type of baritone? I mean you know what. It’s fine. The reason I don’t throw in Son Junho is because I don’t know him? But cool.


      3. Oh my God you answered again! I feel like I am talking with a celebrity. Well I am very relieved that I didn’t sound rude. I know I have said it before but English is not my first language and I am very afraid that I may sound disrespectful when it is not my intention at all. I am also worried about my mistakes in grammar and syntax because people maybe misunderstood me. Also I am sorry for the late respond, I would love to share my thoughts about the subject and have a discussion with a person that I admire.
        Firstly I believe that, even though voice typing isn’t as important in contemporary singing, it is a very interesting subject. I have learnt that when you want to find some one’s voice type, you have to work in two levels. For the basic type for example tenor, baritone etc you are looking the passagio, the natural swift in muscle coordination. Then when you want to find a sub voice type you are looking for certain qualities. For example the spinto tenor we were talking before, has a voice larger and weighter than a lyric but smaller than a dramatic. Also he has a warmer timber. Actually ‘spinto’ literally means pushed because in opera house spinto tenors could be pushed in more dramatic roles. As far as I know you are working with the exactly same way. Now if we examine the subject from a more biological perspective a spinto tenor, even if he trained classically or contemporary, he has the same voice type because of the size of his vocal chords and larynx. Of course in contemporary singing we have the freedom of making more stylistic choices which maybe affect some natural qualities but the voice type is going to remain the same.
        Now let’s talk about the dramatic voices. Actually there is a misconception about dramatic voices in opera. In German opera houses they would prefer big, powerful voices, so dramatic voices were very popular. According to definition, dramatic voices are very weighty, cold, metallic and have a huge volume output. Something that many people don’t know is that German and English opera houses were teaching that the best larynx position was neutral because it wouldn’t make their sound unnaturally darker. On the other hand in Italian houses they wanted to maintain the lyrical qualities but also have big voices so they introduced the low larynx in order to maximize the phaeyngeal space and try to compete with the natural big sizes of German dramatic voices. Classical low larynx bacame popular/introduced in classical word during Bel Canto and because of how commercial these operas were, the other houses adopted the same style. Anyway some historical feedback if you are interested.
        I am very happy that you believe now that Park Hyo Shin is a spinto tenor. I am more relieved that you agree with that statement. Your credibility and knowledge is far better and deeper than mine. And I don’t have Twitter so I didn’t know you were talking about that. I am sorry for assuming that you hadn’t think of this possibility.
        Now about the light and full lyric thing you are quite right. In soprano fach it is established but in tenor fach there is a slightly difference according to my knowledge. In Italian classification system we considered all lyric tenors to be in the same sub voice type. But in German classification system we have something that is called Spieltenor which is exactly the same as a light lyric tenor. When they talk about Lyriktenor they refer mostly to something that we consider full lyric tenors. I actually believe that Jung Dong Ha is a full lyric because his voice is slightly smaller and lighter than Park Hyo Shin’s but weighter than the average tenor for example Sandeul.
        Is Han Dong geun the original singer of ‘Amazing You’? I ‘ve heard the song from Wendy. It is a beautiful song. Anyway I definitely agree that he is a tenor. Now if I am not wrong I hear a chestier mix with lower placement and some artificially lower larynx with a tense tongue (I am still learning so I am probably saying stupid things, feel free to correct me, I love to learn and improve myself). I think he is potentially spinto but he is not trained enough and doesn’t use his instrument to his full potential. About Hwanhee, I would like to ask you firstly about his passagio. I am not good at hearing where the natural swift in muscle coordination is but, I am pretty sure, it is the more safe way to find his voice type. On the other hand he is way too chesty and compressed, something that may hide some of his natural qualities. On the other hand, a dramatic type of voice could explain his large output and natural weight but he lacks the coldness and metallic character for me to say with sure that he is a dramatic tenor. Of course I could be completely wrong. Have you thought the possibility to be a baritenor?Also I don’t know who is Lim Jaebum. I searched him on the internet but the only result was JB from Got7. I am pretty sure that you are not referring to him. Would you mind to send a link?
        Okay I think I am getting a little too excited so I am going to stop myself before I become tiring and annoying. Thank you so much for taking the time to have a discussion with me! It is truly a great honor. I am very big fan of you and your work as an instructor. I appreciate deeply your effort for educating people and I honestly believe that you are the reason kpop fans start to talk about healthy technique and appreciate some underrated vocalists. Everything has being built upon your knowledge. You are truly an inspiration for me not only for your knowledge but also for your good manners . Lastly I would love to hear you singing again and see you on television. I love you voice!


      4. Honey English isn’t technically my first language either, so it’s totally fine. And you speak English very well, you don’t have to apologize at all. I mean I have the same problem as you, apologizing too much. lol Also I’m no celebrity at all! Actually I absolutely love all this information you just gave me! I’ve never heard of the differences in voice typing amongst cultures and countries! I think that’s awesome because it helps shed a light on the subjective and see it’s not all 100% accurate and objective. Depending on your background you’ll rely on voice types differently and see things in a different way. So I love that you’re teaching me about this stuff, thank you so much! You did write a lot though haha No no it’s okay, no need to apologize! I am just saying that I’m glad you brought this up because it’s funny timing. I’d been considering him being a spinto lately as well. For now I kept the possibility of Jung Dongha being a spinto open though I do lean more towards the full lyric fach.

        Oh yeah Han Donggeun has a lot of technical issues but he has a darker tone that doesn’t sound lyric regardless of his vocal habits. Like even with a very pushy chesty tenor around G#4, he has a different quality around that range. Despite his technical issues, he seems to actually be at a lower tessitura when he’s in that range. As for Hwanhee, I used to think he was a baritone but then when I listen to not only his lower range but his mix, they seem to be placed a bit higher than mine for instance. He doesn’t carry the weight I hear most baritones carry around F#2 ~ A2, he seems to lose his vocal weight below A2/G#2, regardless of technique. And then him on E4 and me on E4, it sounds easier for him to get there than for me. It sounds like in his placement, in his voice, E4 is slightly lower than it is for me. Now it doesn’t sound anything like let’s say Jungkook of BTS on E4, or even Park Hyoshin on E4. It definitely sounds like a belt for him. But compared to me, Sungjae, John Park, Roy Kim, it seems like he’s somewhere in between. Now you mentioned the possibility of him being a baritenor, do you believe that’s a real voice type? I’ve heard so many people discredit it as like the inability of the listener to actually give the singer a proper voice type and so they made up a new voice type instead.

        Honey, you’re one of the reasons I love doing this and still do it. I love learning and sharing knowledge. Singing is a passion of mine and being able to share it with other people makes me very happy so I’m thankful to you. Thank you for your compliments and for your love and admiration. Hopefully I’ll be on TV again this year, it seems to be a promising year for me.

        This is the Lim Jaebum I meant. He sounds more like a baritone here to me. But then it’s more confusing when he was younger. Then he sang much lighter and still he’d sing this song, a song Park Hyoshin at one point sang too, so much higher than you’d expect. Even Park Hyoshin sang it in a lower key!

        And even lower in studio


    1. It basically means that his voice is very even. His lower range, his mid range and his higher range they all sound similar. It’s not like his low notes sound really thick and dark, his high notes really bright and thin and his mid range really warm and full. His voice from the bottom to the top of his range sounds like one single voice. One color, one consistent quality that’s well kept, well developed and is very hard to do. Most people sound like 3 different people depending on the range they sing in. It’s important to sing with a unified sound in your voice.


      1. Oh, thanks for quick answer. Would you please tell me some examples who sing with unified voice like Park hyoshin?


      2. Well if we are going to include head voice then Kyuhyun, Jung Dongha, Ann, Sohyang, Beyonce unless you only want K-pop then.. that’s all that comes to mind right now.


  2. I was wondering if Lena Park and Naul would have a very even voice, why don’t their voices sound “like one single voice from the bottom to the top of [their ranges]?


  3. It’s just from your last comment you mentioned Park Hyo shin, Kyuhyun, Jung Dongha, Ann, and Sohyang having a very even voice, but Naul and Lena Park weren’t mentioned in having a unified voice.


    1. Well it was just a comment. They have less of a unified sound though, especially Naul’s lower range and Lena’s upper mix.


  4. Hi, I just want to ask if you could give me the link to the performance where Park Hyoshin had a resonant C#5. I was looking for it in a while but haven’t found one that seems good enough to be resonant. Thanks in advance!


  5. here is a compilation of hyoshin singing in the musical “the laughing man” for anyone that is interested. Honestly i think that he is the best male singer in korea


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