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


  • 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 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 “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.


Great Vocalist

Best Vocal Performance(s)

Vocal Range Video(s)

Videos by: HS BEYON

Analyzed by Ahmin (Kitsunemale)


About ahmin3

kitsunemale from YouTube, AhMin33 from Twitter and Ahmin from OneHallyu!

113 thoughts on “Park Hyoshin’s Vocal Analysis

  1. Finally! I’ve been waiting for this analysis ever since I came across your blog.
    I’ve always loved Park Hyoshin and I’ve respected his decisions so far when it comes to his career. And I don’t know much about vocal pedagogy but glad to know he’s just as good technically as I’d hoped.
    Vocally, what do you reckon was his best era? He seemed the most confident in his 2016 releases but I do have a soft spot for the runs on wildflower.
    And go end this super long comment ( to match the analysis lol) if must’ve been such a treat to analyse King Dongha and Park Hyoshin back-to-back.


  2. Damn that was a long analysis… I don’t actually know if this is mentioned somewhere else on the blog, but how big of an effect does improper posture have on his singing? And in general, is it bad because it specifically changes how you sound, or is it because it is somehow harmful to your vocal health?


  3. Thank you so much! Definitely been looking forward to this, and I’m just glad he lives up to expectations.

    “He can go from a very light approach in phrasing G#4’s such as in “,”
    There’s nothing linked here just to let you know.

    Also “Although resonance has been heard up to C#5”. Can I ask where he’s been resonant on C#5?

    Thank you again for how thorough this analysis is! Great way to start off a new year.


    1. Oh it’s one of the ones in his vocal range video and damn I knew I forgot something. One G#4 example, I even know which one I meant to use. lol


      1. When did he suffer from that? It affects his speech habits so his diction mostly from what I am aware. I could be wrong.


      2. After his problems with his old agency, there were stories of him having suffered a form of dysphonia. The translations seem to differ, and I’m not familiar enough with korean medical terminology or the accuracy of the reports to say either way.

        Some blogs just note it as dysphonia, but this one references it as spasmodic dysphonia, which from my brief search seems quite serious.

        How severe it was or whether he’s still affected by it is something I have no idea about. If any one knows any better, feel free to correct me.


      3. Oh right I remember reading about this but if he doesn’t suffer from it anymore there shouldn’t be a problem.


  4. ahhh, it is here! ^-^

    it’s actually great to see, for both him and jung dongha, the improvement that all of these great+ vocalists have made since debut, particularly with such substantial changes in the way that they sing.

    just one quick question (actually just one this time lol), but how do you add rasp into your voice without damaging it? i think that jung dongha does this as well (?)

    anyway, the analysis was a great read, and thank you for taking so much time in order to make it detailed. it’s wonderful!


    1. Well raspiness is a bit of airiness pushed into your singing with a bit of compression, it’s damaging if done on purpose. Thank you!


  5. Korean fans Will give the harded time for ranking hyoshin lower than dongha even if they have really close ranking may the force bé with u
    always amazed about all the knowledge i envy u i wish i knew at least the notes when some one sing them lol
    Thank u so much for sharing ur knowledge with us ,enjoyed reading this analysis very much

    Liked by 1 person

  6. thank you for the analysis!!
    i hv a question though, why is his supported range still b4/c5 and not c5? are his c5s not consistent enough?


  7. WOW HYOSIN IS HERE! I’m questioning that his support is B4/C5 but how can he do resonance C#5, is it like coincident or just inconsistency in support and resonance? And is he slightly more better in mix than Dongha or just the same in term understanding the mix? WOW i should listen to both these two and really pay attention. What do you think about Kim Bumsoo or Lee Soo?


    1. Well yes he’s inconsistent. Oh his mix is better as well. You’ll find out once we analyze them but they’re not gonna be this high.


  8. Piss off! ><
    Thank you for writting this. Although it's very long, I read all because Park Hyo Shin is the only Kpop singer that I love and want to know more about. Love him since Wild Flower.
    The way PHS sings always surprises me. No one who covers his songs can make me be emotionally speechless like he does. PHS has both skills and ability to bring the emotions to the listeners.

    Liked by 1 person

  9. Finally it’s done! I do appreciate your hard work thanks!! Its really lengthy and really detailed. I didnt expected to be that detailed since you seem to be very busy. How thoughful you are 🙂 He’s weakness, strength and supported range is almost same as much as Ive thought… except for his lower part of voice. Anyway I think B4 for 좋은사람 is C5 It should be C5 in original key and certainly peaks at C5 in that video

    Liked by 1 person

      1. Your explaining his approaching mixed voice through this vid
        I wonder if you check out this performance writing his analysis? I think it is one of his great performance but its not mentioned at all.

        2:58 3:23 3:30 those are Bb4s (it was hard to believe with those chest resonance)
        3:47~4:00 belted B4 and phrased B4s and C5


      2. Actually I mentioned that video for the head voice section. I appreciate the second video but I fail to see how it shows anything not mentioned within the analysis. I love the note qualities, they’re very full throughout but his ability to choose the ratio of chest and head in his mix is addressed in the analysis.


      3. I think they mean this sentence

        “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,”

        That the B4 linked in “좋은 사람” peaks at C5.


      4. Yes, user named tidy made my point about the first video
        And I’m really glad that you liked the notes on second vid and put which as a one of his best performance.


  10. Hi Ahmin,

    I saw this on twitter. Great job as always!!! Hope you are well. I might/will ask questions soon about this analysis, but much later. I just wanted to tell you not to worry too much about the length. I saw more positive qualities in the analysis that simply increased the length as a byproduct. You literally debunked PHS, and that needed more words. You clarified that he is not a baritone. I dislike it when people type others’ voices and clearly have no knowledge. I met one person that said that ”some guy was successful due to his particular tone, which is something that baritones did not possess”. Lies, this successful person was a tenor with no chest resonance, nasal placement, and high larynx straining, an equivalent of Sam Smith or whatever his name is.

    I saw a few other things that were necessary to the analysis even if it got longer..

    1. The Thickness, how it’s enhanced, and how it’s produced.
    2. The change in placement and overall technique. And rasp vs husk.

    The thing is: To debunk a lot of misconceptions, you had to get into a lot of theory which is what made this longer. I think it was wonderful, either way. For me, I love this stuff, theory and all, especially since I can interact with the links and hear what you are saying vs imagining it.

    Another aspect I found important was how you chronicled a change in technique. Most vocalists don’t see drastic changes in technique, which is why I don’t see paragraphs on it. Others see smaller changes and don’t have them fully documented on the site. For example, I’ve always thought Chen debuted with perfect A4s, but when I read Haruko’s analysis on D.O, I see I was wrong. The problem is that there is no documentation on a time where Chen did not support A4 completely. Maybe he did or didn’t. Again, I don’t know because it wasn’t chronicled like the way it was done with Hyo Shin. So it really just depends on what the writer wants to do. I respect both stances because honestly even popular idols can lack material sometimes in certain parts of their range.


    1. Haha I just don’t like writing such long analyses cause you know…they can become repetitive and tedious and I don’t wish to write like that. I’m so glad it clarified things and that it worked well, I was hoping it would! It was an important analysis for me to write. Mhmm right the only vocal analyses we have like that are sort of Jung Dongha’s, Hyorin’s after her changes, Taeyeon’s (which isn’t mine) but especially this. It was quite chronological. Thank you again for the thoughtful comment as always dear. ^ ^


  11. one suggestion and two short questions.

    1. ”Placement plays a very important role in the quality of one’s voice.”. This line didn’t connect well enough to the previous paragraph in my opinion. Maybe ”In addition, placement is another factor that plays a very important role in the quality of one’s voice.”

    2. Was he rated as more of a great vocalist because his mix was great, his lower range was proficient or good, and his head voice somewhere between good and great, which compensated for his lower range? Vs. Dongha who had two excellent registers and One good to great one. Just curious.

    3. ”However the lack of chestiness in his mix has also narrowed the quality of his resonance.” This is the only line I really didn’t get, in terms of meaning. What happened to the quality of his resonance, smaller or bigger? The brighter part I get, means more head voice coordination and a lighter sound. However, he hasn’t gotten to the point that he sounds as bright as Bada, right? By the way, Na-ul’s mix is quite bright but he sounds quite strong, more present than than Bada and similar to PHS (considering the Full Lyric part).


    1. 1. Honestly I tried to see how it would flow any better and I’m not sure how to make it flow any better because the connection I’m making is to the thickness of the voice and the mistyping of one’s voice fach.

      2. Honey, you know I refuse to rate registers. I didn’t rate him as more than a great vocalist because of his registers being excellent, good to great because honestly that doesn’t exist to me. He was rated as he is because of his overall technique. Park Hyoshin’s overall technique just isn’t as thoroughly developed and he lacks openness due to compression at times as well.

      3. His resonance got less round, it became somewhat less heavy and so it sounds a bit edgier, almost whiny. Not whiny, but it just has more treble in it. No he isn’t the same as Bada at all and I didn’t say that he lost power, he just lost the weight. Naul’s mix is powerful due to technique.


      1. 1. Ok, I get it.

        2. Ahhh, I understood the rating thing better now. Thanks for that and Sorry for that haha. I forgot you don’t rate registers, I just get really mathematical about the whole process, haha. I don’t care much about the ratings; I like the content more.

        3. That’s what I was thinking. He did get whinier to me sometimes when his mix was really light. When he was chesty, he sounded too compressed and unsupported at times. I get the compression thing better now because I hear support but something there is not totally relaxed or perfect. In fact, he reminds me of Yesung in terms of compression.

        4. Thank you for answering this question and all prior questions on other analyses recently. I have this bad habit of looking up your responses to my questions on my phone and I forget to reply ”Thanks for answering, Ahmin. Sorry to take much of your time.” I swear if I could have done so, I would have given you an Onew for christmas.


      2. 1. Good lol

        2. I hate being mathematical about singing because it’s a balance of patterns, as opposed to a numbered outcome. I really can’t do the scoring thing for singing technique like I’ll give you a 6/10 for head voice + 7/10 for mixed voice and 2/10 for chest voice. Like that’s just so weird to me, it doesn’t work like that.

        3. Park Hyoshin’s old singing style is VERY similar to how Yesung sings actually.

        4. Awwww it’s okay honey, I don’t mind. ^ ^


  12. I like it when you use certain vocalists to explain more theory behind their specific problems, or shoot down misconceptions, so it’s okay that it’s long lol. I was so confused about what overtones meant in signing but basically.
    Bass = heavier, darker
    Treble = Lighter, edgier?


    1. Yes basically that. A voice without too much chest voice has less bass qualities. Ailee’s mixed voice is a lot bassier than Bada’s, which has a lot more treble quality to it.


  13. currently the widest supported range are lena park and dongha who has 3 octaves. i can understand if dongha better than hyosin. but what about lena vs hyosin? hyosin wins with all three developed register. but lena has very well developed lower and upper. women may have tendency to expand her head register. and that is what makes me wonder, which of lena or hyosin better in term of vocal development technique? is it worth to develop one/two register enormously? or balance all three of them first?


  14. What do you mean by “Compresses sound of his voice in his upper range”? and in great area, which one can be considered better Hyosin or Naul?


    1. I don’t know, I haven’t given it enough thought. As for the compression, it means he closes his throaty a bit when mixing higher and pushes a bit.


  15. I have no idea if you answer questions like this and I didn’t see it anywhere in your rules, but can you tell me if I ever mix my voice in this cover? I know I tend to sing way too chesty and I’m trying to learn how to consciously mix but I have zero ear for it at all. To me it just sounds like full chest or full head at all times but I know that singers tend to unconsciously mix without even knowing? I’m trying to learn how to mix since my higher notes tend to be very unhealthy. I know my larynx position is also a bit odd for contemporary as well. Any help would greatly be appreciated.


    1. Lowkey but high key this is way better mixing quality of sound than I was expecting and way better vocals than I’m used to on the comment sections. I do ask that next time you don’t post this on an analysis but instead on a more general page like The Voice or About & Our Criteria. 2:31 so you went for a B5 right there. You do seem to pull your chest, it’s just that I hear your throat close and you get your swallowing muscles slightly closed when you get higher. You didn’t seem to mix above B4, it is mixed, but it could be a lot freer and more opened. Have you ever heard of Madilyn Bailey? She’s a youtube singer. Your mixed voice habits remind me of hers, the way you close your throat is very similar to how she does it. It’s very sudden, you sound relaxed, supported and opened then there’s a sudden change in the shape of your throat which could be just you getting used to placing your voice in your mix. It’s not too unhealthy, if this song is originally by Gayoon, it is better than anything I’ve ever heard from her technically but I hear issues with the throat shaping and this is only B4. Also pushing too much air on that head voice B5. This is pretty good either way.

      Liked by 1 person

      1. Yes, sorry about that – as soon as I pressed “Post Comment” I thought “Oh god, this is not where I should have posted this!” LOL

        You’re 100% right on the closed throat thing. I’ve been struggling with that for about a year because I feel like it makes my higher notes sound way too bright and screechy. A good example is like at 1:50 on this video I basically resort to straight up screaming to get the notes out and it also becomes very nasal.

        Are there any things you could recommend that may help alleviate this problem or help me open my throat more?


      2. You mean your head voice, right? Yeah I hear it, it’s a very screechy quality. You need to make sure you work on how you practice your head voice? Do you usually only do it loudly? It’s harder to sing with less volume cause it requires more control and less air pressure. So try practicing 3 note scales, in semitones, ascending, with a very light approach and don’t try to be too airy or too loud, just keep the sound focused and connected without pushing. B5 is a high note so don’t feel too bad about that.


  16. I was actually referring more to my chest voice – my break between head and chest wants to start at around A4ish (some days, even G4!) and so even a basic C5 sounds nasal, pushed, shouty and strained because my throat starts tightening and squeezing more the higher I try to belt. But yes, my head voice does tend to be quite loud and obnoxious since I used to sing opera – I’ve never had someone describe it as screechy but that’s definitely something I will need to look out for when singing pop music LOL. Thank you for the help!


    1. Oh it’s only screechy in the B5 range. I don’t find your chest voice screechy but yeah shouty perhaps. Mixed voice is hard to figure out, try singing in your chest but placing it like it’s your head voice. Use a light approach, not too much volume and sing two notes. A B A B A, like that, like a very wide vibrato and slow. Take your time.


    1. It isn’t a whistle register. He mixed a D5 and then there’s an interference in sound that sounds like a G#6 in the whistle register, but you can clearly hear his voice in the mix.


      1. Thank you! 🙂 I was quite surprised by that, so it’s good to have your ears on it. I’ve been watching his Yu Huiyeol concert and enjoying it immensely 🙂

        Liked by 1 person

    1. I’ll copy paste my answer:
      “Mhmm I swear I’ve seen this video before. Yes he’s a darker tenor, he pushes too much in the upper notes like around Bb4 and such, below that he’s not bad.”


  17. “His mixed voice doesn’t even start until D4”

    Pardon me for asking a silly question, but how can you tell when someone starts going into mixed voice?


    1. You have to be trained enough to be able to hear a change in registers and so that you can hear where someone’s first passaggio is and where they start mixing as opposed to staying in chest voice. One way to kind of notice is when you hear the quality of sound switch from a speech-like comfortable range to a range where the vocalist can actually belt in.


  18. Hi admin team!
    I enjoy reading your analyses on kpop idols and I love the fact that you guys put so much effort into all of your posts. Reading this blog has made me more interested in figuring out my voice type. I am not musically inclined and know very little about voice types and music notes, but do you think there is an easy way for me to find out what my voice type is? I will study information if I have to in order to find out what my voice type is.

    Liked by 1 person

      1. I did a cover of “A Thousand Years” by Christina Perri. This is probably my third or fourth time recording my own voice, so I hope that you can hear me clearly. I am still a beginner so if you have any tips on how to sing better/ what I could do to improve, let me know. I hope the video is long enough for you to identify my voice type. Thanks so much! :))
        Here is the google drive link:


      2. Well watch the most recent vocal tip I made, the #1 tip I posted as well. Try starting with easy stuff, like matching pitch and properly stretching your vocal cords. You seem to be very used to using your chest voice and using a thick approach to your voice, so you stayed in the same range the whole time, even when the melody was supposed to go higher, you didn’t go as high as you should’ve and kind of changed the key over and over to match your comfort range. There are times where you’re consistently in key, but sometimes you’re just flat like 1:18 that should be higher. You sang like E4, but you were supposed to sing F4. Same thing for 1:31. You did that a few times here and there. Unfortunately your voice is too underdeveloped for me to confidently try to identify your voice type. You could be a very untrained soprano actually, so I’d say don’t worry about it and try to develop basic technique first.


    1. From the get go he’s singing with a high larynx and too much air. He’s too breathy, too raspy, his sound is placed in his nose, his larynx isn’t neutral, he sounds whiny and tight. 0:57 his throat isn’t opened. There’s no moment in which I’d say he’s supporting properly at all. His singing kind of reminds me of BTS’ Jin, like the tone of his voice and his vocal habits. Or maybe he just kind of looks like him a bit.. lol You really like watching this TV show, don’t you? lol


      1. Thanks, haha well I certainly do like watching the clips they put on youtube, haven’t watched a full episode yet though!


  19. Hey Ahmin, I’ve read this analysis like 10 times already, great work as always, but I want to know why you didn’t include this performance in it. Did you not have it at hand at the time of writing, or is there another reason?
    Also, thoughts on the run he did at the end?


    1. Oh hi there! The answer isn’t deep or anything, I’ve actually never seen this performance before so that’s the reason why. He had a couple of nice C#3’s in this, so I added it in. He had quite a few nasal moments but that comes from him singing in English. 2:24 that F#4 was really nice! It’s funny how anybody would call him a baritone when he sounds like this. 2:57 that was pitchy. 3:43 that B4 could’ve been more opened. 4:23 this run you mean? It was rather simple, so he executed it well. He could’ve relaxed his neck a lot more though.

      Liked by 1 person

  20. I haven’t understanded what resonance means until I watched this video. Sooo good!
    He also produced resonance very well in the “Mozart!”. I think the operas let him show his talent much more than in his songs.


  21. (I accidentally deleted part of my comments before posting T_T)
    Thank you for your analysis of Park Hyo Shin!!! >:D
    Like Sohyang, I got to know Park Hyo Shin from your analysis, and I’m so grateful!
    He is such a talented artist…

    And I found this link on youtube with Park Hyo Shin performing Eng covers like Home, I’m Yours that might be a hook for international fans to start researching on him.
    Here’s the link:


  22. is it his head voice has bigger resonance? when i listen to his der letzte tanz compared to dongha or naul or ryewook, his seems to sound louder and fuller. is it because his technique? perhaps voice type also contribute, but dongha is full lyrics too and his head voice softer than hyoshin


      1. I think it’s a combination of Park Hyoshin using a bit more mask in his placement and a lower larynx position.


      2. eh, i can find my self how to optimal the head voice. i think there are some vocal tips on youtube hehe thank you


    1. He went no lower than Eb3, no higher than A4, except for one quick C5 at 5:43 and one other one at 6:00. So he did just fine. He has great dynamics, really nice interpretation and all, but there’s nothing really new to note. I’m glad to hear him phrasing well mixed C5’s. 6:57 I hear some tension in the way his vibrato is coming out on this Bb4, but it’s nothing major.


  23. i have no knowledge of vocal technique etc but I tried understanding as much of the analysis as possible, so may I ask? In his 야생화 performance on sketchbook that you referred to above, it sounds in some parts more nasal(?) than in his previous lives/studio version, like he’s singing with his nose plugged? I was actually sort of put aback from it when I first heard it. Is that a stylistic change/what is that technique called, if there is a name for it? Thanks! And sorry if i missed the answer in your analysis (it didn’t really sound raspy to me but what do i know lol).


      1. Maybe cos they say Mr Park cried a lot singing this song in rehearsal just before show recording and also during recording of 야생화 ?


  24. i just watch the vocal run & riff video and i still can’t get enough of that wildflower part. Now i’m interested in vocal run here, just curious, but which singer you think is the best at vocal run? judging by its complexity? (i think who is the most agile vocalist would be a clearer question) i read some of the idol analysis and found some who has good agility, but i still haven’t read all of your analysis so i can’t be sure.


    1. If you mean K-pop, Naul. If you mean non-kpop we have Mariah Carey, Tori Kelly, Brandy, etc. The best idols I’d say are D.O. and Yerin for agility.


  25. Park Hyo Shin is a big slap in the faces of people who claim that vocalists with good technique have “bland” voices and sound “robotic” without any emotions. He seriously has such a beautiful, rich voice and don’t even get me started on how emotive and passionate his singing is. #goals T_T


    1. Ikr?! Actually I don’t know much about him but talking about someone with good technique have less emotion on their voice I totally disagree. Even for someone as technical as So Hyang, her recent performances on Mask Singer always made me in tears :”

      Anyway, im glad So Hyang covered Home. It made me listen to Park Hyo Shin’s original version again! Now i listen to their version back and forth and always amazed how great both of them to make the same song feels different


  26. Totally wrong! I have even regretted your analyzes! It shows the impostor and so wrong that you are. I will not even argue with you, because you would never understand. The problem is that you are deceiving thousands of people, you do not understand music and especially about voice. But for your information Park Hyo Shin is far from being a tenor, ignorant.!!!


    1. Oi tudo bem? Eu não tenho certeza do que você quer dizer com regretted our analyses nem a parte de sermos impostores, mas tem 3 parágrafos inteiros da análise dedicados a explicar o porque ele não é um barítono mas sim um tenor, se você ler você vai entender. Se não, você tem a liberdade de explicar qual o problema com essa e outras análises e o que faz de nós impostores ou o significado de regretted your analyses. Tenha um bom dia.


    2. I mean, you could have discussed in more detail why you disagree with the analysis, or why you think he is not a tenor and this could have been an interesting back and forth between you and ahmin, but instead you chose to act like trailer trash. How are people supposed to take you seriously o.0

      Liked by 4 people

  27. I am studying classical music in university now. It is interesting your opinion of judging voice type. However i don’t agree on you. At first, whose passagi is not unchangable especially in pop music area than those of classical. In classical, we are demanded to use a full tone which our vocal cord closed at a maximum. So it seems unchangable in classical to change our natural voice type. But by practice we can change our ability to stretch our vocal cord and it can make our passagi be high. As i see Park’s today’s live like , i always feel his effort to make his vocal cord not to be thick. Unlike naturally born tenor voice singer like Kim bumsoo or K.will or Kyu-hyun. I judge his voice is more baritone than tenor by his timbre. Actually it is the best way to know someone’s voice type is to see with scope, which the otolaryngologist in korea observed his vocal cord by himself and made a diagnosis that he is near to baritone judging by length and width of his cord. The point is that someone’s passagi is not fixed and it is varies by how lightly connectig cord. More streched, more higher passagi placed and using heavier, lower passagi placed. Because It is changable by effort, passagi is not the best way to judge voice type.


    1. Hi! I really appreciate your take on this, but I think there are a few misconceptions. Since you’re classically trained, you may be misunderstanding some things about pop singing with passaggi and I’ll explain.

      Actually there is a difference between passaggi and where your voice breaks. If you know how to mix your voice well, your passaggi will be hard to hear but the notes in which they happen cannot change. The passaggi notes always will be the same in every voice type. Even if you sing with different technique, the passaggi notes will still be the same, but the sound quality may be different. So with technique what you can change is how your passaggi are perceived and so some people may have a harder time hearing the passaggi, but they’re still there in the same exact notes. Evening out your scales in your voice helps you make your passaggi less noticeable, but they can’t be changed.

      Timbre is a lot less reliable to tell someone’s voice type because you can have tenors who sing with a very thick and chesty approach in their mixed voices, so they sound thicker than tenors who mix with a bright quality. But you can hear in their voices where the range that their voice naturally sits in is. Park Hyoshin never had the placement of a baritone, a baritone would need to mix much earlier than he does and to be able to constantly stay in the G4 ~ C5 range? That is too challenging and you’d be able to hear in a baritone voice if they would be outside their tessitura. Park Hyoshin is not outside his tessitura there. It’s like tenors who keep singing like sopranos and sing above C5, they sound much thinner and lighter and their voices lose character to stay in that high range. A baritone who does this is Hwanhee, who often sings above G#4, and his voice just doesn’t sound natural there. He can hit the notes, but he always sounds like he’s way outside his tessitura. Park Hyoshin on the other hand has no lower range below B2 and even below C#3, he doesn’t seem to be singing in his natural tessitura anymore. A baritone would have a much lower tessitura, they’d be actually belting around C4 and would have a lot more character in their voice around G2. Of course many of these things can be changed by technique. When you lower your larynx, like Park Hyoshin used to do in the beginning of his career, he used to sound much thicker but still in a tenor tessitura.

      All the tenors you mentioned have always sung with a much lighter approach than Park Hyoshin but try comparing Park Hyoshin in the beginning of his career, when he was chesty and pushed his larynx down, to a baritone who’s chesty like 정준영 or John Park. Both of them sound MUCH heavier and their tessituras are much lower than Hyoshin’s. I understand your logic, but I can’t agree because you can change how you sing through your passaggi, but the notes always stay the same. Timbre? That can be changed, shown by Hyoshin himself and how much he’s changed the way he sings over the years and how that affected his timbre and sound.

      It is possible that he is a lower type of tenor than we’re used to hearing but to say he’s a baritone is too much of a stretch because he doesn’t have the tessitura of a baritone and even the baritones who sing very high like BtoB’s 현식 or Hwanhee still sound way outside their tessitura when singing in a tenor range, whereas Hyoshin sounds like he’s outside his tessitura when singing in a baritone range.

      What is it that you said about otolaryngologist? I’m curious about that, Hyoshin went to one to check his vocal cords before? I see that you also posted a comment here before asking about Park Hyoshin and why we thought he was a tenor instead of a baritone, before his analysis was written. I hope this helps clarify our point of view. Of course at the end of the day, voice types in pop singing are generally quite ambiguous and become confusing because of how much pop singers alter their natural timbres when they try to sing in different styles and try to emulate other vocalists, whereas in classical singing it’s clearer. But even in classical cases, some people have been given the wrong voice type and were trained in unhealthy ways because of the mistyping of their voice.


      1. Thank you for comment back. hmm… He clearly start to use middle voice from c4~d4 at a video as i mentioned before 0:55. I agree on you passagi always remains same only when someone sings the same note. As you said, It is true that Hwanhee is a baritone and i feel unnatural when he sang upper note from a4~. But it is not the reason that he is a baritone, he lacks higher pitch. He needs to get lighter sound by right approach and practice than he’s trying to get over with so much air pressure lacking lighter pitch.

        We will know he is obviously baritone, but he sing with righter pitch and accurate place unlike Hwanhee or 준영.
        About otolaryngologist, I heard from vocal trainer who is trained with professor Nam in korea and Nam is now opening session for voice in medical school. Park is occasionally visited to check his comdition as i heard.


      2. The thing is you can use mixed voice lower than your first passaggio, just as you can use it above your second passaggio or head voice below your second passaggio. I can bring my head voice down to E3, but it doesn’t mean my passaggio starts at E3. I can also mix as low as B2, maybe lower, but that doesn’t mean I have to. So perhaps he may be mixing at C4, but it doesn’t mean that’s his passaggio.

        Also I feel you’re being harsh to Hwanhee. Yes Hwanhee doesn’t have good technique above G#4, but what baritone does? I don’t know a single lyric baritone in pop music who can sing above G#4 without straining, because the baritone voice isn’t necessarily built to sing that high. Park Hyoshin’s voice doesn’t sound like it’s meant to sing only as high as G#4, he still sounds like he’s singing within his tessitura even higher than that.

        I actually have had my doubts about 이적 being a baritone but he does seem like one, but I wouldn’t say that he has good technique above G#4 either because I do hear vocal strain when he sings that high. So my point is that I still hear Park Hyoshin as a tenor, he never sang like a baritone, even when he sings in a baritone key or range, he sounds like he’s singing too low for his voice, whereas other baritones sound like they’re in their actual voice type’s tessitura.

        That is interesting! Also I wanted to say this but I forgot to, your English is really good!! Like I feel like I couldn’t carry out this argument in Korean, so yeah. lol


      1. Ahmin, hi!!!!!!!!! I was fascinated with the whole comment about PHS baritone vs tenor but what blew me away was that you could mix below your first passagio. How does that even work? You said you could mix as low as B2. How do you mix that low in your range? How would I do that? I have so many questions, but wow! so cool. I really like the technical stuff in singing.


      2. It’s not like a low mix will sound mixy but it’s just not a pure chest voice. If you hear the quality of my voice is generally even, I don’t sound exceptionally dark in my lower range or much heavier, because I’m never using a 100% pure chest voice. B2 was a guess as I feel I have to rely more on chest voice lower than that, but it’s a chest dominant mix more or less. It’s like using head voice down to E3.


    1. I think I can help out Ahmin on this one a little bit, I hope. What he’s previously said about lowering the larynx was that it not only creates fake deeper, darker sounding voice, it also makes one’s voice sound like two different people at higher and lower extremes of his/her vocal range. Generally, lowered larynx “traps” the sound in the chest, but as you sing higher, the sound placement will inevitably become higher in the mask and head, which gives off different “colour” of the voice. How this all affects vocal health, that I hope Ahmin can answer for us


    2. Lowering the larynx can be potentially be good if you are doing it through good technique via support, however if you’re pushing it don’t with your tongue and with an awkward jaw position; it can be bad because then you are adding tension and constriction to your singing.


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