Throughout the years, we’ve received immense love from every one of our readers. And we’re deeply thankful for the amount of support we got from the people who understand what we are all about. We appreciate, love and thank you all for these amazing years.

However we’ve received our own fair share of criticism as well. Our ranking system has always been controversial, and rightfully so. However the content within our analyses is the most important thing to us. We didn’t watch more than 30 to 40 individual live performances for each of these vocalists, more than 120 so far, for nothing. We care about each and every one of these vocalists. People might call us biased and if you know me, you know I hate to be called something I’m not. We’re not biased. Bias is not even listening or caring, it’s having a pre-conceived notion and sticking to it. We don’t do that. We give everyone a fair chance. We don’t have preferences, we don’t rank based on our taste or whom we like. We don’t dislike anybody or try to put anyone down.

But we understand that ranking vocalists isn’t the nicest thing to do. For a while now we’ve been thinking of eliminating the ranking system altogether. Truthfully, it’s counterproductive to rank vocalists against one another. That’s not what we’re about. We’re here to spread knowledge and educate people on vocal technique. We want people to be able to know what’s unhealthy and healthy for the voice. What can be dangerous and what’s good for you. We want the best not only for the fans, but for each of the vocalists we’ve analyzed. We spend so much time analyzing them, we truthfully grow attached to each one of them. I know I do.

So from now on, we won’t be ranking vocalists or trying to say someone is better than anybody else. We’re against fanwars and we don’t wish to fuel them. We want these rankings gone altogether. So from now, we’re going to simply label vocalists under their strongest qualities and stylistic choices. We won’t say who’s better than who, but we won’t label them by genre either. Instead we will re-label and re-organize them based on who prefers to sing within what range, in what way, what style and who’s developed their voice a specific way.

That does not mean that we don’t personally believe there is a more effective way to use the voice. We do and we stand by it. We stand by the fact that there are different types of techniques and ways to sing that a vocalist can choose and a vocalist who has more choices, has a bigger “tool belt” of choices to pick from. However even then, at the end of the day the choice is the vocalist’s and the vocalist’s only. If they choose to listen or choose to sing in one specific style, that’s their choice and we must respect that. However if they wish to change because they want to develop other ways to sing and other parts of their voices, that’s what we’re here for.

I know that change is hard and that many of you are our fans because of our ranking system. I don’t expect every one of you to stay with us through this change, as I know you like to know who’s better than who. But we feel as vocal instructors and vocalists ourselves that it is best to take this step forward and create a place that’s neutral in its narrative and positive in its message. We don’t want to fuel negativity. Who cares who’s better than who? Love your artist, support them and care about their vocal health, that’s all we want!

Our system goes now as follows with our criteria. The criteria will be updated in the front page as well. (Changes may still be made as this is the beginning of this only. You could call it a BETA mode right now.)

MH Vocalists: Mid-Range Head Voice Vocalists

Vocalists in this category haven’t developed their head voices very high but are able to use them within a relatively low to mid range in their voice type’s tessitura. They maintain connection at will and are able to access their head voices at will.

Sopranos: Up to at least D5 up to A5
Mezzo-Sopranos: Up to at least C5 up to G5
Tenors: Up to at least A4 up to E5
Baritones: Up to at least F4 up to C5

HV Vocalists: High Head Voice Vocalists

Vocalists in this category have developed a relaxed and open sound in their head voices. They can manipulate dynamics, qualities within their head voices, they maintain supported qualities and manipulate the placement in their head voices well.

Sopranos: Starting Around Bb5
Mezzo-Sopranos: Starting around G#5
Tenors: Starting around F5
Baritones: Starting around C#5

MB Vocalists: Mid-Range Belters

Vocalists within this category generally perform the best within their mid-belting mixed voice range. Once they go high, they might have issues with keeping their throats as opened as they were in their mid belting ranges. They must be able to produce resonance in their mixed voices to be classified in this category.

Sopranos: Up to at least C5 up to D5/Eb5
Mezzo-Sopranos: Up to at least Bb4 up to C5/C#5
Tenors: Up to at least G4 up to A4
Baritones: Up to at least Eb4 up to F4

HB Vocalists: High Range Belters

Vocalists in this category perform best and have the most ease within their upper mixed voice ranges. They are able to keep an opened sound without losing tone quality, without losing support and without losing volume while still being relaxed. They must be able to produce resonance in their mixed voices to be classified in this category.

Sopranos: Starting around E5
Mezzo-Sopranos: Starting around D5
Tenors: Starting around Bb4
Baritones: Starting around F#4

M Vocalists: Mid-Range Vocalists

Vocalists in this category are those with relatively narrow supported ranges, whose strengths lie in singing within an octave of their range without going too high or too low too often. They generally keep support within a mid one octave range, but outside of that strain can become more apparent and intense.

Sopranos: Falling somewhere within A3/Bb3 ~ Bb4/B4
Mezzo-Sopranos: Falling somewhere within G3/G#3 ~ G#4/A4
Tenors: Falling somewhere within E3 ~ F4/F#4
Baritones: Falling somewhere within C3 ~ C#4/D4

ML Vocalists: Mid-Low Range Vocalists

Vocalists in this category have somewhat developed their lower ranges, but could still further develop the strength in the vocal cord development, projection, support and connection as they descend lower in range.

Sopranos: Going down to about G#3/G3
Mezzo-Sopranos: Going down to about F#3/F3
Tenors: Going down to about C#3/C3
Baritones: Going down to about A2/G#2

LR Vocalists: Low Range Vocalists

Vocalists in this category generally develop their lower ranges well and are comfortable singing lower than most within their voice types. They have developed chest voices, sung without tension, with connection, projection and ease.

Sopranos: Anywhere starting on F#3 and below
Mezzo-Sopranos: Anywhere starting on E3 and below
Tenors: Anywhere starting on B2 and below
Baritones: Anywhere starting on G2 and below

S vocalists: Stylistic Vocalists

Vocalists within this category usually prefer to sing in a specific specialized generally breathy way, narrowing their genre to keep themselves true to their style. They can often prefer breathiness, soft singing, throatiness and falsetto over singing with more connection and belting with more openness/roundness in tone.

C Vocalists: Commercial Vocalists

Vocalists in this category lack in terms of clarity of tone and overall management of airflow. They don’t necessarily prefer stylistic qualities like breathiness or soft singing. Instead they prefer to sing in a way that’s specific to their own music only, preferring to sing with high larynxes, or more air pressure, etc.

MA Vocalists: Melismatic/Agile Vocalists

This category is exclusive for the vocalists who have learned to how to properly move their vocal cords from note to note, at the center of pitch, with precision, control and ease. They have flexible vocal cords that respond to changes in pitch without sliding through them, but instead hitting each single note at a time with accuracy.

WR vocalists: Well Rounded Vocalists

Vocalists in this category have developed their ranges to sing within a variety of genres and styles while keeping a strong connection between their vocal cords and air management to sing with minimal strain within a wider range, from chest voice to mixed voice to head voice. The development of each of those registers should be both consistent and balanced.


249 thoughts on “NO MORE RANKING SYSTEM?! (Read)

  1. Hello ! I know you admins are busy in your lives and that’s totally fine but what about “giving” your blog to a relative/friend (or at least someone you know) you trust that also knows about vocal analysis of singers and K-pop to update your blog until y’all come back?


  2. What a shame that you got so much criticism and much fanwars because of the ranking system. I was always fond it it since I’m curious about a lot of kpop-idol progress and its such a delight to see if they manage to improve, even the notation that if they somehow has damaged their voice would ease some of my questions wether if its temporary or not. Would your team be interested to revive a less competitive ranking system that would state less who’s better than who and instead just mark how well they are able to control their voice/sing in the system.

    Liked by 2 people

      1. I understand that every personal page of the kpop idol are very fleshed out and detailed but the ranking system was more than a system of ranking for me. It was also a vast summary of all idols and how they fared vocally.

        Like there are so many pages Id like to read but I often missed it because the list is so compact and the simplicity for example of seeing XXX idol having “good” control over her/his singing made me have an interest of wanting to read about this idol even if I dont know this Idol, vice verse about me finding an absolute unknown idol which has “great” control makes me want to read why this person is “ranked” there.

        Imo the ranking system were a bit too detailed that the ladder system compared within those idols in “good” range with eachother for example idol 1 is slightly better than idol 2 in the “good” group which could have sparked immature wars.
        All in all the ranking system worked as a huge known and unknown idol summary for me and I just wanted you guys to know I appreciated it!

        Liked by 1 person

      2. As much as I agree with you, the biggest reason we did this is personal. Not only because of our future careers, but also our own personal mental health. We appreciate your points but if people can’t take something in a mature way, then we can’t give it to them. We’d love to simply provide an answer but people have to work for it. Not to mention we’ve changed our own way of thinking overtime as well. The biggest issue wasn’t people slightly better than each other being compared, it was the low versus high rankings. I agree with you because I loved that the ranking gave credit and acknowledged less known but proficient vocalists. It is what it is though. Thank you for your comment dear.


      3. Wow I never estimated that it was such a big deal that it affected you guys personally. I’d hope it would be a minor problem from the readers side only so I am sorry for making the topic so shallow. Thanks for answering so fast and frequently your points are noted and I agree totally. I’m sorry again if this comment had a vibe of pestering it was however meant as encouragement and acknowledgement for your work. Thanks.

        Liked by 1 person

    1. The saddest part is that he and the blog were hated for being “biased” when none of the people who said that read a single analysis or actually had intentions to learn about vocal technique-you know the reason why this blog was created. And instwad people started using it to fuel their immature fanwars. And even nowadays I have questions as to why someone was placed higher than somebody else but I can’t ask about it because it’s forbidden to compare idols. Yes even with the analysis and everything I have questions as to why this idol was placed slightly higher than this person. And as much as I understand why the blog no longer compares them one part of me still feels like the chart and rankings were a nice addition. But I fully understand how much hate and negativity the admins received because of it and I don’t blame them for their decision. It’s just a shame how the kpop community ruined it. It’s not like they even cared to learn what the blog is about before attacking it. What a shame…

      Liked by 1 person

  3. Hello! Bomi here. I am preparing to audition for korean talent companies soon. I am trying to find songs/singers at a decent difficulty that would show my talent. (songs that arent easy basically) Do you have any recommendations? So far I am considering Sohyang and Lena Park.


    1. Baby, you should never choose something based off of the skill of the singer, nor the song. It should be a song that shows what you’re good at. A song that you like. That matches your voice and skill level. If you pick a Sohyang song, it’s likely you’ll end up showing them what you lack more so than what you’re good at. You have to sell yourself at an audition.


    1. Mhmm yes and no? Honestly it just depends, as long as you read you can find the gems really. We could make a gem tag but that could be controversial.


  4. i agree with the user above for sure, like reading the old comments regarding the categories was actually very useful especially for those above average and above and i don’t think a problem would be caused here?


    1. it been quite a long time since i’ve come to this blog i don’t think we will ever see any ranking and problems will always be caused especially with a certain fandom


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