About & Our Criteria

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Vocal Analyses

THE TEAM PAGE HERE

FUTURE ANALYSES HERE

This blog was made with the intent to share knowledge and share vocal analyses from different vocalists in K-pop. Nobody in the blog is a hater or an anti-fan. The analyses give positive and negative points and are all constructive criticism, nobody is telling you to hate or not listen to your favorite idol vocalist. We’re only letting you know what their vocal skill based on what vocal technique and music theory is from a musically professional standpoint. If you’re confused about rankings, categories and such, click the about and our criteria page. This post will also include the information existing in that page if you’re unwilling to click through just click read more. Otherwise click About & Our Criteria and most questions should be answered. We try to back up all our points with substantial evidence from the singers’ performances, we thoroughly listen to their performances from past and present. No one in this blog claims to be an expert, we’re all learning and everyday we learn more and more, just as we respect your opinions, please respect ours, which were influenced by the knowledge we have and the way we’ve been taught. Thank you.

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This blog is dedicated to compile vocal analyses done by our contributors in order to satisfy everyone’s curiosity regarding their idols’ vocal. The analysis will be based solely on VOCAL TECHNIQUE, not tone, timbre, emotions, stage presence, etc.

The analysis might change according to their latest performance.

If you would like your idol to be analyzed feel free to drop the question in the comment box. If you feel that the analysis is not accurate, you could suggest a video or recording and give us the reasoning behind your disagreement. We will gladly alter the vocal analysis page of the respective idol if your reasoning behind it is proven.

Comments will be moderated. Constructive discussion are welcome. Bashful and hateful comments will be deleted. Every idol mentioned here are talented in their own way. Even so, we are focusing solely on their vocal capabilities and we try our best to give an objective analysis regarding the matters.

So far, we will use this system as our judging criteria. We will elaborate more once it’s established. It goes from best to worst.

TERMINOLOGY

Tones/Semitones/Notes/Key
A key of a song means within the key signature of the song. There are 12 notes in total, C C#/Db D D#/Eb E F F#/Gb G G#/Ab A A#/Bb B and back to C, completing one full octave. A tone is from a note up two semitones, so the distance between C and C#/Db is a semitone, whereas C and D are a full note apart. A major Key will follow a tone tone semitone tone tone tone semitone pattern, so C major is C D E F G A B C. Although there are no sharps or flats between E and F or B and C, they’re a semitone apart. # stands for sharp and b stands for flat and whether or not you name a note sharp or flat depends on the key, i.e. C# major and Db major are the same key with different names, C# D# E# F# G# A# B# C# and Db Eb F Gb Ab Bb C Db, on a piano the same notes are played, just with different names.

Intonation
Being able to stay in pitch and in key. Good intonation means not going sharp, flat or singing a note that isn’t within the chord progression and/or key of the song. Going sharp means slightly above the pitch but not really hitting a note above, so like a note in between C and C#, and flat means a note that’s slightly below pitch, so a note in between C and B, for example.

Larynx Position/High Larynx/Low Larynx/Neutral Larynx
The larynx is the part of the body where the vocal cords are located. The vocal cords are very small and are divided into two parts that vibrate against one another in order to create sound. The speed of the vibration generally determines the pitch someone sings in. Much like tuning a guitar, the more stretched the vocal cords are and thinner they become, the higher the pitch and the thicker they are, the lower the pitch is. In order for a note to be hit, one should have a relaxed opened sound in the larynx, without any restrictions from the throat muscles. If the larynx is pushed down, it creates a froggy and fake “soulful” tone, if it’s pulled up, it creates a thinner, squeezed and tight quality to the voice. The natural state of the larynx is being neutral when it’s relaxed, if it’s forced either up or down, that means the muscles in the throat are creating tension and the larynx is trying to reposition itself in an uncomfortable and unnatural position to hit notes that are not within the individual’s supported range. 

Tonality/Tone Production
The way tone and sound is produced through good support. The voice comes out stable, without any laryngeal restriction nor tension, tone is clean and has the true sound of the individual’s voice type, without an uncentered pitch, excessive breathiness, nasality and tension.

Vibrato
The shift between two notes rapidly within, normally, a sustained note. The difference between the notes is usually less than a semitone. A forced throaty vibrato is usually produced artificially by using the throat, instead of the natural vibrato that comes out once the vocal cords are relaxed with good breath support.

Stability
The stability of the voice, meaning it’s not off pitch and it doesn’t sound wobbly, shaky and unsupported.

Registers
Chest voice, lowest range. Head voice, highest range. Mixed voice, the belting area of the voice.

Support
How the individual vocalist uses their correct breathing technique with the diaphragm to better support, project and hold their voice together.

Placement vs Resonance vs Projection
Resonance is the optimum sound a vocalist should focus on when singing. It is a full, clean and round sound that won’t sound thin, constricted or small. A vocalist who’s resonant will use different types of placements, i.e. their voice will be placed either in their chest, head or mask (cheekbones area, not nose) to project their voice, in each individual register. A vocalist may be able to be resonant in their mixed voice by normally placing their voice in their mask with chest resonance, or as they go higher, with head resonance. A resonant sound is always going to be a projected sound, now resonance doesn’t mean loud, because a loud sound may still be pushed and strained. You may project but still have tension, but in true resonance tension should not be present. Resonance is produced when the vocalist is able to support their voice. In other words, they have developed vocal cords that are able to connect fully in a healthy manner, without breathiness coming between them nor too much constriction, against the right amount of air pressure. Then the supported sound is enhanced with the proper placement of sound, while keeping the soft palate lifted, the larynx position not high, the swallowing muscles, jaw, tongue And throat relaxed and the jaw dropped so as to amplify the sound of the voice. The combination of an open throat, support, relaxed singing and proper placement is what creates healthy resonance in singing.

Vocal Range vs Supported Range vs Tessitura
Vocal range means the individual’s lowest singable note to the individual’s highest singable note.  A tessitura will depend on the individual’s voice type and where their voice sits most comfortably, shines the most and could project the best. A supported range includes notes outside the tessitura where the individual’s voice type may not be naturally inclined to project well in, however so due to the vocalist’s own ability, they’re able to still maintain tone production, support, projection and stability. e.g In classical music, sopranos’ tessituras are something in between A3/C4 to  A5/C6, however in contemporary music a soprano singing as high as C6 is very uncommon and unnecessary; a contemporary soprano, for an example Luna, is able to keep resonance consistently up until Eb5, which is almost ideal for a soprano who should be able to carry that resonance up until A5 without a problem. However so she’s also able to sing down to G3 with correct support, which although is outside her voice type’s natural tessitura, she’s still able to keep support and projection down there.

Musicianship/Musicality
Musicianship is the act of changing any song given to you and making it your own, usually on the spot. This includes melodic changes, rhythmic changes and added embellishments. Musicality is the act of interpreting music correctly according to each individual genre of music, by adding the correct use of vocal effects (e.g. raspiness, breathiness, growls, vocal runs, vibrato) and playing with the song musically by adding dynamics (e.g. singing softly, loudly, powerfully on the right moments of each song).

Passaggi/Vocal Bridges
A passaggio or a vocal bridge is an area of the voice where one’s voices transition naturally from one to the other in the modal register. Usually for males, the distance between the first passaggio, from chest voice to mixed voice, and the second passaggio, from mixed voice to head voice, is only about a 4th apart, whereas for females it’s about an octave apart. Passaggi are important for one to be able to tell what someone’s voice type is. A register break or the highest note you can sing in your chest/mixed voice before transitioning into head voice is NOT your first passaggio. The first passaggio is a note in your range where your voice naturally feels a switch of muscle coordination in your vocal cords. That doesn’t mean you can’t bring a chest dominant or balanced mixed voice above your first or even second passaggio. Lyric tenors usually have their passaggi around D4/Eb4 and G4/Ab4, whereas lyric baritones have their passaggi at B3 and E4. Lyric sopranos are usually at F4/F#4 and F5/F#5.

Legato/Staccato
A musical phrase usually will last a couple of bars. During a phrase, the melody may be played/sung smoothly connected without every note sounding chopped up, whereas staccato means emphasizing every single note separately with minor less than a second breaks in between every note. Legato is the most basic form of singing through correct breath control and support.

Agility
Vocal agility is an embellishment and it means, being able to sing many notes accurately and quickly, by separating each individual note while still being able to connect them within one sung vowel. Those are usually called melismas or vocal runs.

CRITERIA

Excellent Vocalist

  • All three registers are developed
  • Supported as close as possible from their highest to lowest extremities
  • Range wise, supported range without head voice for sopranos falls somewhere within C3 ~ E3 (or lower) and G5 (or higher)
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within Bb2 ~ D3 (or lower) and F5 (or higher)
  • Range wise, supported range without head voice for tenors falls somewhere within F#2 ~ A2 (or lower) and C5/C#5 (or higher)
  • Range wise, supported range without head voice for baritones falls somewhere within D2 ~ F#2 (or lower) and A4/Bb4 (or higher)
  • Within their Voice Type’s tessitura they are consistently resonant
  • Complete support in the middle register and lower register
  • For females head voice must be completely resonant at will; for males head voice must be completely supported
  • Connection in the voice with no noticeable breaks when transitions are being made
  • Agility is present and pitch is controlled with good separation between individual note, potentially very complex runs are done from the bottom to the top of their ranges
  • Musicianship the ability to change a song and make it their own and Musicality having complete control over the voice in any given genre
  • Almost perfect intonation
  • Tonality is almost never lost

Great 

  • Developed registers, but one register may be lacking in development
  • Optimal resonance is achieved on a regular basis
  • Range wise, supported range without head voice for sopranos falls somewhere within F3/F#3 and F#5/G5
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within Eb3/E3 and E5
  • Range wise, supported range without head voice for tenors falls somewhere within A2/Bb2 and B4/C5
  • Range wise, supported range without head voice for baritones falls somewhere within F#2/G2 and G#4/A4
  • Support is present in all registers, but maybe not to their lowest and highest extremes
  • Within in their voice type’s tessitura they are resonant and well projected, but not as resonant and well projected as Excellent vocalist
  • Connection in the voice with no noticeable breaks
  • Agility is present and pitch is controlled with good separation between individual notes
  • Great interpretation skills (Musicianship), but Musicality may not be as finely tuned as Excellent vocalist
  • Intonation is almost perfect
  • Tonality is almost never lost

Good 

  • One very well developed register or two well developed registers, with the others either being Average or Above Average
  • Able to sing through their first passaggio and second passaggi with support and resonance, and above
  • Range wise, supported range without head voice for sopranos falls somewhere within F#3/G3 and E5/F5
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within E3/F3 and D5/Eb5
  • Range wise, supported range without head voice for tenors falls somewhere within Bb2/B2/C3 and Bb4/B4
  • Range wise, supported range without head voice for baritones falls somewhere within G2/G#2 and F#4/G4
  • Optimal resonance often present, but is not always achieved
  • Within their vocal type’s tessitura they are resonant and supported, but tonality can be lost at times.
  • Connection between registers is not always present
  • Some agility, but runs and transitions are not always controlled
  • Interpretation skills are present, has show musicality
  • Good intonation rarely goes off
  • At times can lose tonality by rarely does

Proficient 

  • One well developed or two/three somewhat developed register well balanced
  • Able to sing through their first passaggio and second passaggi with support and resonance
  • Range wise, supported range without head voice for sopranos falls somewhere within G#3/A3 and D5/Eb5
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within F#3 and C5/C#5
  • Range wise, supported range without head voice for tenors falls somewhere within C3/C#3 and G#4/A4
  • Range wise, supported range without head voice for baritones falls somewhere within G#2/A2 and E4/F4
  • Consistently supported within their supported range
  • Resonates at times, but optimal resonance is not a regular occurrence
  • Connection between the registers is not present
  • Intonation is not perfect, off-key moments happen at times
  • Good tonality isn’t always kept, strain and tension are apparent at times

Above Average

  • One somewhat developed register with the others being average or weak
  • Able to sing through their first passaggio with consistent support and possible resonance up to their second passaggio
  • Range wise, supported range without head voice for sopranos falls somewhere within A3 and C5/C#5
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within G3 and B4/C5
  • Range wise, supported range without head voice for tenors falls somewhere within D3 and G4/G#4
  • Range wise, supported range without head voice for baritones falls somewhere within Bb2/B2 and Eb4/E4
  • Inconsistent with resonance
  • Even in their supported range strain and tension can be present
  • Nasality can be present within the voice at times
  • Intonation issues can be frequent

Average

  • No register is developed considerably well
  • Able to sing through their first passaggio with adequate and consistent support
  • Range wise, supported range without head voice for sopranos falls somewhere within Bb3 and Bb4/B4
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within G#3 and A4
  • Range wise, supported range without head voice for tenors falls somewhere within Eb3 and F4/F#4
  • Range wise, supported range without head voice for baritones falls somewhere within C3/C#3 and C#4/D4
  • Inconsistent with support, and if at all resonance, even if occasional resonance has happened
  • Good tonality is not present at all times, nasal placement is normally used
  • Frequent intonation issues

Weak

  • No developed registers
  • Unable to sing through their first passaggio with adequate and consistent support
  • Range wise, supported range without head voice for sopranos falls somewhere within B3 and G#4/A4 (or less)
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within A3 and F#4 (or less)
  • Range wise, supported range without head voice for tenors falls somewhere within E3/F3 and Eb4/E4 (or less)
  • Range wise, supported range without head voice for baritones falls somewhere within C#3/D3 and B3/C4/C#4 (or less)
  • Very inconsistent with support, strain,no resonance
  • Good tonality is not present
  • Out off tune singing is frequent

FYI, Among K-POP idols there is NO ONE who is considered Excellent/Amazing/Fantastic vocal-wise. They are Great/Good at best.

For further question you can ask the contributors directly at this forum

OneHallyu vocals’ thread

Regards,

Admin

FUTURE ANALYSES HERE

THE TEAM PAGE HERE

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8,849 thoughts on “About & Our Criteria

    1. Is this just for curiosity? I’ve never analyzed Miley Cyrus so I don’t think I’m confident enough to answer because answering would mean I’m familiar enough with her to know her rating and I’m not.

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  1. Hi. I have a bunch of questions:
    1. What do you think of Somin (KARD), her C#5 in Don’t Recall?
    2. Does Jihyo seem to show improvement in Knock Knock? I heard her and Jungyeon hitting D#5,
    3. A long time ago you talked about Eunha singing with too much nasal. Will that damage the vocal cord or something? Because Eunha strained and cracked a lottttt C#5s in GF’s latest performance 😦
    Here’s the link of GF: https://www.youtube.com/watch?v=HHe_Uiw7tOA (1:17, 2:41, 3:18 aaaaa that’s just a C5 whyyyyy, 3:40)
    4. Bass and alto vocalists do not seem to exist in K-Pop right? I mean except rappers, but what would be an ideal supported range for bass and alto?
    5. Yuju’s 1:23 and 3:52, is that belting or head voice? Does fatigue affect a vocalist’s singing much? Like I don’t know, can having dizziness or headache affect the head voice…? I feel like idols often have to dance their breath out before coming to some high notes so they must belt instead of using head voice uncomfortably? Correct me pls
    6. In BTS’s Blood Sweat and Tears’s bridge, someone sings in the fifth octave up to C6. I’m not sure what would be the right word to call that range, whistle head voice? Because I can hit F5 to C6 and even D6 with some kind of opera-like voice, at least that’s what I heard myself singing (I’m male), but I don’t really know how to call that. I’m pretty sure that is not falsetto because I can use falsetto from B3 to B4 and then the sound is so small and when it comes to F5 something in my throat gets pushed backward a little bit and I can hit F5 quite percisely. It’s midnight in my house so I’ll record myself hitting the fifth octave later if you need to hear since those are often so loud 🙂
    Thanks in advance

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    1. Hi dear~
      1. Don’t assume I know songs cause I don’t always. Provide live links with time stamps.
      2. It’s studio for now but no I didn’t hear any change in technique.
      3. Nasality isn’t damaging, strain is and lack of support is as well. All 3 of those things happen when Eunha sings.
      4. Contralto and bass are rare voice types in pop music in general. For young artists, I don’t know anybody who’s a bass or a contralto in western pop music either, except for Avi Kaplan. Rappers aren’t basses either. We don’t have enough data to be sure, what do you mean by ideal?
      5. Those aren’t head voice, they’re belted and strained. Yes fatigue directly affects your vocal condition. Not that I know of for a headache but it could affect your overall focus and so things can go wrong. I’m not sure I understand your last statement.
      6. I have never heard C6 in that song. The highest I’ve heard is G5 by Jimin in a pushed head voice. I heard it nvm it’s an exclamation and we don’t count them as range.

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      1. this is for Question 1 it not ‘ don’t recall ‘ but she hit a couple of C#5s here around 1:01 , 2:18 and 3:18

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      2. 1. Actually there are C#5s in Don’t Recall but there’s no live links so I’ll ask about that in the future 😀
        4. AA maybe? Since lots of main vocalists in KPop is AA so I assume that could be a standard. Avi Kaplan is actually new to me and omg his covers are really cool thanks so muchhh
        5. My assumption is that dizziness and fatigue affects head voice more compared to chest voice and idols always overwork so they rarely use head voice while performing, I’m not sure if my assumption is right. And another question is that a heady mix is healthier than a chesty mix right? Both are not ideal but which is better?
        6. I will try to record my F#5 to C6 later. Btw as long as someone can hit a high note in a way of singing, no matter how they hit it or how damaging, it can be still considered as range right? I once heard someone saying that falsetto isn’t counted as range.
        7. Last question: Who is better, Eunha or SinB?

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      3. 1. Someone provided the link so I answered the question. They’re not supported.
        4. Ideal you mean AA? Mhmm unfortunately we don’t know.
        5. I highly doubt that’s why, since dizziness can only be caused to people who aren’t used to using head voice at all but to say that’s why people prefer falsetto or belting over head voice, that’s a very wild conclusion to be drawn by such lack of evidence. Yes a heady mix is a lot less damaging than a chesty mix even if it isn’t supported. The ideal case is a supported mix, regardless of the mixing ratio as that should be controllable at will.
        6. I corrected my statement, I heard the C6 but it’s an exclamation so we usually do not count it. Strict classical people don’t count falsetto nor whistle as part of your range. We generally count sung sounds within a singable register or sounds you can use musically, such as the whistle register.
        7. I don’t know, they’re not vocally skilled enough to say one has noticeably better technique than the other.

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  2. hey!!! i was just wondering if you watch any korean tv programs based around singing and what you think of them/ what your favorites are! 🙂 fantastic duo is a program where artists watch fans cover one of their songs live, then choose a contestant to perform a duet with. it’s really cute! if you do happen to watch it, do you feel that you agree with the artists’ decision on who to perform with usually? (also you don’t have to reply to this if you don’t watch em, thanks for all your informational analyses! <3)

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    1. Well I watch them for the purpose of analyses but I don’t watch them regularly for personal entertainment. If you read the analyses you’ll see many of the analyses quote videos that are from many of these TV shows. I don’t always agree but oftentimes the cover singers have very similar skill like in Ailee’s or Sistars case.

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      1. 0:18 slightly flat. Too airy, 0:25 too muffled, too airy, too pushed down. Not supported. She sounds overly breathy and airy throughout, her falsetto transitions aren’t bad at all actually. She is only singing in between F#3 ~ G4, that’s not challenging enough. Bb4 ~ Eb5 is all falsetto so again not bad actually, this is definitely better than when she tries to mix but there’s too much air, her lower range is very muffled and her falsetto way too airy. These songs have too many runs for them.

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    1. I’ll copy-paste~ ^ ^

      “Hi there! See unfortunately if they are labelled as rappers and considering that Day6 is more of a band than an idol group with everyone getting main and lead vocalist roles, we weren’t planning on analyzing anyone but Sungjin. Sungjin who is most likely to be their strongest vocalist is not going to be rated that high at all, which means that none of the other vocalists would be rated any higher and therefore there’s less of a chance for them to be analyzed. I have heard both of them singing before and they both have very nice tones, but they’re pure style. They have basically no sense of technique for singing, all they do is use style to sound airy, pretty, but not necessarily technically good. They are limited to the airy and pretty sound, but when they start to add more volume they start to add more tension and strain to their voices. Even when singing softly they show quite a bit of tension as well. They have very narrow ranges where they’re not tense, their harmonies are quite nice though. 0:15 see there’s too much air here, 0:24 here there’s too much pressure in his throat. (Put Your Records On) 0:54 throaty and flat, he sings with too much raspiness which is mostly stylistically and done by compressing his throat. These are both Young K and Jae right? Young K is a lot less tense but he also is pretty shallow. Again I can’t make any promises, I’m not even 100% sure Sungjin is their strongest vocalist so not 100% he will be analyzed.”

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  3. Hi Ahmin, I know this is against the rules but I think you’re familar enough with MC…
    At 2:11-2:15 how many notes did she hit? She’s so agile that I can’t tell XD And at 3:30 how is it possible to vocalize while inhaling the air?
    Thank you!! ^^

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  4. Hello admins!

    I’ve been a follower of your blog for quite a while and this is my first comment ever since the two years I’ve discovered it lol. I was wondering if you could quickly analyze my friend since he posts covers of Korean songs on his channel. How’s his technique? Is there support present? Any strain? Pushing? Is his intonation good? Maybe even resonance?

    Thank you so much guys I really love all your hard work so please don’t feel pressured to analyze him, just maybe if you have free time. I’ll provide the link below:

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    1. Awww why! We don’t bite, we ain’t scary! lol You could’ve commented before. lol I’m glad you did comment finally anyway! 0:25 he lowered his larynx on the B2. He is a tenor. He has a pretty voice. 0:35 lost tone quality and support on the C3. 0:54 very slight throatiness on the F4. He has a decent connection of his vocal cords, he does have some support. He is singing within a fairly comfortable tenor range in the beginning, at least when it comes to the higher notes so he’s not necessarily in a range where he could strain. 1:34 D3 ~ B2 range in that section, lacks a LOT of support, lacks in projection and chest placement so it didn’t project. It was too airy, again this is a fairly normal thing amongst tenors. 2:08 his 오 Oh vowel was a bit too wide. 2:35 a bit too much in the throat for the E4, he doesn’t sound like he was taught how to sing so he just sings on instinct and relies on the fact that he has a pretty tone. 3:09 tightness and a high larynx on the G#4. I really won’t rate him or anything but no he doesn’t produce resonance, he has decent enough technique and a pretty voice. He has potential, if he tweaked the way he approaches his singing, the way he uses the air pressure to guide his vocal cords as well as his placement of airflow, he could easily support with no effort within the range he was singing in.

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      1. Omg I didn’t know you replied… I’m so happy you did tho thank you so much for your quick analysis! I’ll be sure to let him know of your critiques so he can improve!

        Ahahaha well tbh I didn’t really comment because any questions or concerns I had were (most of the time) already asked and addressed in the comments so I didn’t feel there was a need for me to comment anything lol. But from now on, I’ll comment more often to show you how much I appreciate this blog hehe.

        As for my friend, you’re right, he’s never gotten formal lessons. I chose this video in particular because it think it shows off his voice the best since it’s a ballad song. He does have a cover of Huh Gak’s Hello on his Facebook page but it was done in a karaoke room so it’s really echo-y therefore I didn’t think it’d be the best for you to look at. I can show you if you want however, since he still sounds nice in it, I’m just curious about his technique tho lol.

        Again thank you so much for the analysis and all the hard work you do! Bless y’all ~

        Liked by 1 person

  5. I didn’t know if you’ve commented on this before but I figured I should try. Can you please comment on Jihyo and Nayeon in this performance? I know you like specific questions but I really have no knowledge about singing and I just really liked this performance. Thank you!

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    1. Apparently I watched this before:

      “Jihyo’s first verse was fine, she was slightly airy and didn’t project as well when she got down to Bb3 but the support wasn’t gone. Support is there. Next girl, I’m not sure who she is. Her pitch isn’t centralized, she isn’t supporting. Her tone is shallow and airy. Some support from Nayeon, a bit airy, some nasality. Some pushing on the Bb4’s. Jihyo’s Bb4’s have more relaxed support, she’s not as much in her throat. They go back and forth in the chorus, 1:12 Bb3, her tone is airier than Jihyo’s for sure when she sings lower, her vocal cords are less closely connected. Again the other girl, more air than tone in her voice, she’s almost speaking her parts there’s absolutely no support being used there. 2:12 down to Bb3 Jihyo has some support, below that not so much. Sometimes Nayeon lets too much air out, she tends to use less consistent breath support and as such, she runs out of air a lot quicker. 2:46 there’s some pushing there. 2:51 C5’s and 2:53, too much chest, too much pushing. She’s in her throat for those parts. Jihyo did the best out of all, Nayeon the second best so far.”

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  6. Ahmin! Hi! Singing is one of my passions but the last time I performed live in front of people was many years ago when I was still a child so now I have extreme stage fright especially since I am not very confident in my vocal tone or technique. Do you ever encounter stage fright or feel that your voice isn’t very good? I’ve been trying to train myself again for the past year or two but I still feel like I sound very awkward in my singing. Especially in my mid-range and low notes which is weird since I’m almost pretty sure I am a baritone. What is some advice you would give? Can we send in audio/video of us singing? Sorry, you just seem to be very knowledgeable, kind and also have a very nice voice yourself so I thought you were the perfect person to ask for some encouraging advice.

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    1. Well I used to have some sort of stage fright when I was in my teen years, because you know..high school, I wasn’t too confident, I just wanted to sing but doing it in front of so many people can be frightening and of course it takes years to build up confidence and self appreciation. But training yourself is difficult if you have no one helping you, I mean it took me years to be 100% confident with my singing and to know what I can sing well and what I can’t. Yes you’re welcome to send an audio of your singing! ^ ^ Thank you for thinking I have a nice voice lol Well it takes time because when you listen to your own voice, you won’t like it cause it sounds different to us than it sounds to you cause you hear a mix of what it sounds like inside your head and what it sounds like outside, but we only hear the outside portion. So you need to listen to it over and over until you’re more used to it. Then knowing your strengths and what genres work best for you is good too.

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  7. Do you have any plan to create a blog for US – UK singers? I can’t find any blogs which analyse singers’ technique as informative as your blog and when I have some questions about US UK singer, I have nowhere to ask.

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    1. Jung Joonyoung usually uses head voice, but the support is a bit questionable cause of the throat tension. These are too quick for me to be sure of his consistency.

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  8. Hiiii ~~
    This is a performance of The Voice Vietnam. Is his note around 2:23 an A#5 or A#6? I don’t think a countertenor (omg he’s a countertenor omg) can go close to the seventh octave ofc but I tried finding the notes using my app and it says A#6 and I have only sung A#5 so it’s not familiar to me. And no matter what the note is, how was the note projected? He seems stable to me: https://youtu.be/Jd43IblMYHA
    Oh and you said in the my last covers that I need to work on my vowels to release tension and I just read a comment in the V’s analysis that singing Italian songs can help solve this problem. So do I really have to study Italian or can I just imitate the singers’ way of singing? Since I’m in my senior years so I’m super duper busy. And can you recommend some songs in Italian if they really works with my tension? I’m afraid I can imitate singers’ bad vocal habits if I pick the unsuitable song. Thanks in advance!

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    1. His head voice has absolutely no support in that range you showed me. He sang F5 to Bb5 in that time stamp. No you don’t have to study Italian songs to do this at all. Don’t imitate Vietnamese vocalists, because the vowels are different..but..it’s hard for you to just imitate other people in other languages if you have an accent as well, but it is what you can do for now.

      Like

      1. Well it’s not that I want to imitate Vietnamese vocalists but I myself am Vietnamese so… maybe the accent have existed since I was born, so I think I’ll have to work a lot on that. He has no support? At first I’m impressed with his pitch but when I reheard he kinda strained some notes so that could be understandable.

        Like

  9. hi ahmin, do you think that jungkook had improved in his cover of “we don’talk anymore “, cause many people say thay his voice is angelic and he is so good. so i want to know if he is overrated or not ?
    thanx in advance.

    Like

  10. Please don’t be offended if you reviewed this performance already, I will search harder if you in fact did. But if not, would you say that any of these singers could be considered Average or even Above Average? Also did they have moments where they were off key? I don’t know but to me it sounded like the harmonies were off at 1:09 and 2:02. In the performance are Jihyo and Juju. Jihyo has all black dress and Juju has all white top.

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    1. Oh honey do you think we are that scary that we would be offended by you asking a question about a video we’ve already seen? Haha we wouldn’t be offended. We’ve been asked bout this but they were specific questions about Yuju. I mean Twice and Gfriend are pretty big groups, you don’t have to tell me who Yuju and Jihyo are. You’d only have to tell me who they are if I never heard of them or if they were a whole actual group performance without a set main vocalist. 1:09 did sound pitchy but I think 2:02 was intentional. I’d rather not reveal any ratings without analyses but if you read through comments Jihyo and Yuju are mentioned a lot, you can find out what their most likely ratings would be. All these girls can support, Baek Ayeon being the breathiest of them all, so none of them are weak. We’ve already analyzed Suhyun, and the song only went up to B4, so none of them were in a range where they’d strain. None of them really strained or went higher than their supported range. Some of them sang in a low range where they’re unable to support though.

      Like

  11. Hey ahmin so like i was wondering what vocal classification i would fall under because my Range is about G2-G5 and sometimes not even that low, but my voice doesn’t really carry much weight to it (i blame that on singing from my throat and not chest)and my voice starts getting really heady around c4 ish, maybe a little earlier i feel like I’m like a low tenor or barely a baritone but not really sure

    Like

    1. Someone posted that yesterday actually:
      “0:08 he lacks in openness a lot in this beginning, he sounds pretty tight and he is trying too hard to project and push his voice out when he could relax and open up the back of his throat a lot more. He is kind of emulating Bruno Mars a bit, which is not a very good idea. 0:15 the D4’s are better, the E4’s and F4’s afterwards on the next line are a bit too pushed. I’ve heard him be more opened. 0:35 too much air and slight tongue tension. 0:42 F4’s, again too much tightness. 0:46 A4 high larynx. 0:53 pushing way too much. 1:00 tightness and a high larynx. Also the English is causing him to use his tongue more than he needs to, which might be what’s causing him to sound tighter than he usually on a range below G4. 1:32 ~ 1:35 way too tight. 1:36 ~ 1:46 nice changes in the melody, really nice actually. 2:00 nice here too, this is less common with non-American born K-pop idols. 2:23 way too much pushing and a high larynx throughout. He has a very pretty voice. He has the Yoo Youngjin thing going on for him. 3:07 throatiness throughout, but nice melodic changes. 3:15 he even mixed E5.”

      Like

  12. Hi Ahmin, I’m here with a quick and rough cover of Taeyeon’s new song Fine. I just want to know how I did and if I support or not. TQ

    Like

    1. Hi there! This is the first time I hear you singing right? I think this key isn’t right for your voice and since you seem to use a lot more air pressure in your throat than relaxed support, you end up sounding like you’re pushing too much around the chorus. Also the second line where the melody starts on the D4, in every chorus I believe you were flat. You have minimal problems with pitch though, most comes from pushing and the accent in Korean also causes tension to happen.

      Like

  13. Hello! I have two questions:

    1) What’s Subin’s (Dalshabet) voice type? Here’s a youtube clip for reference https://youtu.be/mCk2z-HQQ_8?t=10s

    2) Is there a big deviation between a singer’s live vocals vs studio vocals? So like, for a singer that’s rated as weak from their live singing, do they actually sound like a weak singer in studio recordings as well, or do they sound like they could have a higher rating (like average or higher)?

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    1. 1) Subin is a light lyric soprano.
      2) Yes, studio can hide pitch issues but not strain. If they have improper technique in studio, it will be improper live and vice-versa.

      Like

      1. Thanks for the info ^^ At first, I thought Subin was a full lyric soprano :p btw, does studio recordings also make it seem like a singer has a wider supported range?

        Like

  14. Ahmin3 Thank you for your response! I look forward to the official analysis of Yuju and Jihyo! For now I think this lady did a good analysis but do you agree that tone should be a factor? She said that Yuju’s “voice” hasn’t caught up to her technique yet due to her lack of warmth and youthful sound. Also I look forward to someday posting my own singing clip! I didn’t know you reviewed your fans voices that’s freaking cool!

    Like

  15. can you give a brief analysis on this and check who support and who doesn’t?

    I know you know Sejeong and Mina, probably Nayoung too but I’ll tell who is her lol
    0:09 Nayoung
    0:17 Hyeyeon (doesn’t seem to support)
    0:24 Mimi
    0:31 Soyee
    0:54 Hana (Doesn’t seem to support either)
    1:14 Haebin

    you can ignore the other girl bc she’s a rapper and she’s chinese, so she can’t speak korean properly yet.

    Like

    1. 2:15 onward is that Mina belting? Honestly they all but Sejeong sound fairly shallow and nasal. Soyee pushes a lot and Nayoung is too nasal. Mimi didn’t seem too shallow but none of them have the same grounds of support that Sejeong has.

      Like

      1. Then it wasn’t Mina with the adlibs? Then I don’t know who Mina is lol But all those adlibs were just a lot of strain.

        Like

  16. It’s not a question. I just want to show you a very fantastic thing. Have you ever heard a supported C6 (head voice) from tenors? I think tenors can support in head voice to G5 at most. But that guy actually changed my stereotype.

    You see ! 2:20 and 2:30

    Like

    1. I believe the only supported C6’s I’ve heard with a tenor were by Trey Lorenz in I’ll Be There with Mariah Carey, so.. not this guy.

      Like

  17. Ah… !! Wonderful! It’s the best C6 head voice I’ve ever heard. But the C6 of Trey Lorenz on the link I gave you above is supported, right?

    Like

  18. Dear admin, I have a few questions to ask about:
    1. Do you know why the whistle register can weaken your head voice?
    2. This may sounds stupid but why you didn’t put the highest note of mixed voice on the vocal range so it’s like Eb3-C#6-A6 for Sohyang as example
    3. For taeyeon’s new album, is there any improvement on her D5 or maybe higher?
    Thank you ^ ^

    Like

    1. 1. I never heard that the whistle register could weaken your head voice and I’m not sure I would agree with this.
      2. I’m not sure, it just seems silly to me to put the highest mixed voice note for every single vocalist, when most of the time we’re going to mention their highest mixed voice note somewhere in the analysis anyway. Also when counting someone’s vocal range, we don’t count the range without head voice, we count the whole thing within the modal register.
      3. We would rather wait for live performances to talk about the consistency of her improvements.

      Like

  19. Hi ~~~ Can going too low without training be damaging? I never used vocal fry but whenever I’m going low to E2 my throat feels squeezed. And how to know whether someone lower or higher his/her larynx and how to keep it neutral? Is larynx something visible that I can use my hand to change its position?

    Like

    1. Straining doesn’t only happen in your mixed voice or head voice, you can strain in your lower range as well by pushing your lower down and squeezing your throat as well. It’s not about going too low, it’s about how you approach your low notes. Some people, mostly men, can see their own larynxes so they can notice if it’s raising. If you swallow while keeping a finger on your neck, you’ll notice something jumping up and down. That’s your larynx. You can monitor it by keeping your finger on it, not pushing against but just feeling its movement.

      Like

  20. I wonder, does anybody in the website listen to rock or metal music (doesn’t matter what language)? And if so, does any singer among the thousands of bands strike you as having decent technique?

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    1. I’m not very familiar with technique (support, control, etc) but I think it’s safe to say that Tarja Turunen (Nightwish vocalist until 2005) has a wonderful head voice.

      Like

      1. So it’s either flat or the key is half step down. I’m curious, how low have you heard any tenors support his lower register? I’ve heard a baritone who can support really really low, don’t remember his name though.

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  21. Hello I have a question. I know that Seventeen won’t be analyzed this year, but I’m wondering who has a better technique, DK or Seungkwan? Sorry if you don’t answer these kinds of questions, I’m just really interested.

    Like

    1. This has been answered many times so please next time, try searching through the comments:
      “I tried to find any answer I’ve given to this question cause I didn’t want to type out a lot but I couldn’t…so the thing is liking his voice more or not, that’s your personal opinion and you’re entitled to it but other people have theirs too. The difference between other people’s opinions and what I can tell you is that what I’m telling you is an educated opinion based on technique not my personal preference.

      The gap between DK and Seungkwan is pretty noticeable. They both have support, they both have clean clear support in their voices, which already sets them apart from every other vocalist in Seventeen. None of the other ones can support almost at all, only DK and Seungkwan have that managed and learned. The difference between them is that DK sings within a narrower range and doesn’t usually mix very high. He stays within a pretty narrow range and tends not to strain too much because the higher notes are given to Seungkwan but in the following examples I’ll show you, you’ll hear the difference. The difference is DK seems to have a slightly better lower range than DK, with a bit more support but his support is indeed limited only up to F#4, above that he becomes tight, shouty and strained. Whereas Seungkwan maintains a lot more support and a better more opened approach up to F#4 and even above, up to G#4. Now that is also enhanced by the fact that DK is unable to produce resonance whereas Seungkwan produces it quite consistently. So the gap between them is pretty clear, Seungkwan has better technique than DK without a doubt. Now whomever you like more, that’s up to you and entirely up to you. People have some sort of problem with objectively saying someone is better than someone else and confusing that with liking someone more than someone else. If the other people you know like DK more, that’s fine. That’s a preference, not an objective acknowledgment of vocal skill and I hope you all know this.

      “I remember Ryeowook mentioned something about DK singing a part of the song correctly in pitch that Ryeowook couldn’t get right in studio. 0:40 that was a loud breath into the microphone lol It startled me a bit. 0:51 quick Bb2, not good but just noting. The rest is above F3, he sounds comfortable aside from some nasality. I hear some more airiness than before but it’s just for the sake of the song. 1:23 quick G4, tight. 1:27 that F4 was tighter than it needed to be. 1:30 his mouth is not opened enough, his jaw is locked and he’s not allowing it to drop to open up his singing more. His falsetto transitions aren’t bad, but there’s a noticeable drop in tone quality. His G4’s all sound tight throughout the choruses, which again isn’t news to me. 1:50 I hear more support here on those F4’s, 1:53 shouted but better jaw position. His pitch is more or less correct throughout. 2:41 2:43 2:44 he tries WAY too hard for those G4’s, they shouldn’t be as hard as he makes them sound like they are for him. He needs to relax and open up, those are just G4’s for him, that’s not supposed to be that difficult. This song has too many G4’s for him, that’s not song I’d like to hear from him. I’d rather hear Seungkwan singing this cause he could handle the G4’s. 3:45 That was really strained, he just shouted that Bb4. He knew though, that it wasn’t comfortable for him. The rest of the song he sounds tired like this song was a lot of work and he’s pushing his way through the rest of it.”

      “Seungkwan is singing in quite a comfortable range for him, 0:52 slight tightness around those G#4’s because of the vowel he was singing, but he sounds relaxed and supported throughout his part. Woozi sounds a bit too thin, a bit too airy. Even though he’s singing softly, he is using his throat a lot more than fully relying on his vocal cords in order to sing. I am not sure who’s singing the most in the chorus, but they’re singing up to G#4, I’m going to guess Seungkwan is the one handling it because it sounds like him. 1:49 DK sounds just fine as well for now, he sounds relaxed, this is a comfortable key where he can support comfortable. 2:11 and he used falsetto instead of mixing the G#4’s, which kept him from straining his voice in this range. Junghwan and Joshua also have the same issues as Woozi, with using their throats too much even within a reasonably low range due to lack of support. 3:08 his voice is kind of stuck in his throat and nose, which make him unable to project and maintain the pitch. 3:26 tension in this range, DK sounds tight up there above G4 but it’s not too bad. He likes to use his falsetto. 3:53 tightness on the Ee vowel, but that’s usual for most vocalists. 4:09 closed throat C5, very tight, high larynx. I mean reasonably speaking, within the lower part of the song, DK and Seungkwan did relatively well, Seungkwan can handle singing up to G#4. The rest of the members still lack true support, but that’s been established before.”

      “SeungKwan controls his voice really well when singing softly, that was pretty relaxed and stable, the beginning. 1:05 slightly tight in that part. That is a very comfortable one octave range, F#3 ~ F#4 for the most part, 2:19 A4 with some tension, he cracked shortly after so he might not have been well warmed up prior to this. He has very stable support throughout. 2:40 ish around that after, he has good placement. 2:50 good placement, but a bit pushed out. In the second clip he is singing airy and soft on purpose, but he is complete in control of his voice, he has very good pitch overall. His transitions into falsetto are nice too.”

      “Fifth time I’m asked about this.. lol
      I’ve seen this video before, it was shown to me. Both of them have very nice and forward tones, very nicely supported, some strain and tension happens in the higher parts but they can switch well enough into their falsettos. Their lower ranges are a bit overly quiet below E3 but they can carry some tone, they are at least average vocalists though so they’re definitely stronger than Kahi, Jungah or Lizzy.”

      I shall not reveal any ratings before they’re analyzed. Please check our future analyses list as well, since I believe Seventeen debuted in 2015, which means they could be analyzed in 2017.

      Like

    1. Please check our future analyses list when asking such questions. He’ll be analyzed when there’s enough material for an analysis on his singing technique.

      Like

      1. Its obvious enough of a balance that you’d be able to tell it’s not head voice. It’s not supported.

        Like

  22. Hi ~ GF has just come back with their new song a few hours ago. How is SinB’s F/F#/G3 around 0:44? She sounds quite clear to me. And SinB also has a D5 in the second verse, but it’s not sung live yet so I’ll ask about that later. It’s interesting for me to hear her sing in such a wide range in a song ~

    Like

    1. I don’t mean to be rude but it’s been established that SinB can’t support..really. So a D5 would be out of question if even Yuju can’t support them. As for the G3 you highlighted, it was also a note that’s too low to expect her to support. I again don’t mean to be rude, but I just thought you would be able to tell these things by now. The G3 was a pushed down larynx and unsupported.

      Like

    2. I am GFriend fan ~~
      Don’t be sad. SinB is not a vocalist, she sings well, but she are not good at vocal technique because she is a main dancer ..^^

      Like

  23. Hi! I’ve been following this site and finally I decided to ask you something. What do you think of TWICE’s Momo? I was reading comments about her and %90 of the poeple say that ” She’s the worst vocalist of all the time”, “Her voice is too nasal”, ” She can’t change (?) her voice anymore, her voice is gonna be like this forever” and ” Don’t wait her to sing solo, her voice is not good, she can’t hold a note.” vs vs. I mean, is she really THAT BAD? I heard that her company is forcing her to do aegyo – If you know what I mean. So, does this mean that her “normal” voice is not nasally? Last thing I want to ask is, what do you think of NCT’s and NCT U’s Doyoung? He is one of the main vocalist of the group 🙂

    Like

    1. Momo is not a vocalist so really there is no need to mention her vocal ability. She is a main dancer her skill lies in dancing not singing, so how she sings is irrelevant. I really don’t get why people hold dancers to the same standard as vocalist when it comes to singing. But to answer your question, she is a weak vocalist, but no one in Twice is very skilled vocally Jihyo is the only average one. And to answer your other question yes, her natural voice is not nasal. The reason why people sing with a nasal sound is because their soft palate isn’t lifted properly. I am not familiar with Doyoung so I can’t answer sorry.

      Liked by 1 person

  24. Guys can you help, which singer is better overall (better technique etc) Jiyho from Twice or rose from blackpink, which main vocalist is better, and please don’t say one is better than the other because they have a unique voice, I need to know which one is more powerful and better overall

    Like

    1. Why would we ever say that one is better due to having an unique voice? That’s not what this blog is about. We talk about technique only. You can find answers to this question in the comment section, I’m sorry but due to too many fanwars I won’t answer questions comparing vocalists. You’ll find out once they’re both analyzed.

      Like

    1. 0:42 and 0:48 she kept going down to F#3 and D3 0:58 same thing for Sungyeon. Neither of them are able to keep support down that, their voices kind of vanish. Minkyung’s is squeezed cause she pushes her larynx down, Sungyeon’s becomes pure air. 1:36 generally when Sungyeon sings she sounds a bit too whiny, slightly like she’s singing with a high larynx. In this case she’s going for a very soft and light approach, the airiness fits the acoustic vibe overall. 2:12 A4’s, they sound supported. They don’t really go above that with their mix, I heard E5’s in falsetto from Russian Roulette but that’s about it. 2:42 Minkyung’s support sounds less established than Sungyeon, she doesn’t keep her vocal cords connected enough. This was nice sounding, love the acoustic vibe, but not necessarily challenging or technically impressive. The lower range was too low for them both to handle.

      Like

  25. Hi guys!
    Gfriend came with a new comeback, Fingertip, and they just uploaded a video of them singing it live. They were having fun, but they weren’t messing around during singing.

    I’m kinda worried about Yuju now. Did she produce any resonance here? Or did she sound a bit pushed? I don’t know…and do you hear anything different from the other members?

    Like

      1. This is their latest live, and is Yuju’s F5 in 3:09 a head voice or mixed voice, or a heady mix? Since Rough she tends to switch between mixed voice and falsetto a lot to save stamina may be, so I’m always confused if she uses head voice or falsetto above C5 in Rough and Navillera. Improper head voice can be a little bit airy right?

        Like

      2. It’s definitely mixed. Heady mix is still a mix, unless you mean a mask placed head voice which is still head voice. It is a mix though, since it’s a really quick note she doesn’t have to use head voice, she can literally HIT it, really quickly and come back down. Yes it can be.

        Like

    1. That’s a very vague question and considering Zhang Liyin barely has a Kpop career, she’s more of a C-pop artist so I don’t think she’ll be analyzed.

      Like

  26. will we see a new post this weekend? it has been a long time and you all tease us with seulgi, lee sunhee, and JYP often.

    i want to ask about jaejung again, he sing in immortal lately

    this is parc jaejung singing in immortal song, what do you think about his skill? is he a baritone? it seems he is comfortable in low reg but his high notes seems, i dont know it start at 4:41 and 4:51. is it headvoice 5:36?

    apparently this is the same episode as luna with her twin. they seems like baritones, jaejung take the lower part. what do you think about the other guy? is he lowering his larynges?

    Like

    1. We tease you? How? I’m sorry, we are busy people, I’d love to write the analysis as soon as possible, but I haven’t been able to. I do think he might be a baritone.

      Like

  27. Does anyone have an example of what a mask-placed head voice sounds like? Or know of any kpop singer who uses that? I was thinking BoA, since I remember reading from somewhere here that she kinda “belts” using her head voice, but I’m not entirely sure…

    Like

    1. There are plenty within the analyses. BoA, but also most tenors when they go above E5, like Daehyun or even Baekhyun and G.O., or Onew and Vromance.

      Like

    1. The runs are fairly similar, the pattern is I think 3 notes, downward but then the run is extended at 1:32 by bringing the pattern back up. The first one seemed cleaner but the separation wasn’t clear. The lack of separation became more obvious in the second time stamp.

      Like

      1. Okay, thank you! And on the ranking page I noticed that Taeng was just /slightly/ above Wendy. Why is this, despite Wendy having a more extensive supported range (head voice and low notes)? Is it because Wendy doesn’t produce resonance consistently? Moreover, between the two, who has greater agility? 🙂 (both are my biases btw, I’m just wondering the specifics of the criteria you based your ranking on)

        Like

      2. If you look through the comments on that page, pandayeu who wrote the analyses explains the reason why. Your suspicions are correct, it’s got to do with resonance according to Pandayeu.

        Like

      3. Oh, my mistake! I just scoured through the first page and didn’t see any explanation for it so I didn’t hit a page back… As for runs, would you say they’re both fairly similar?

        Like

    1. No, we cannot rank her. It is what you’d expect, it’s a high rating but without a full analysis I’m not going to guess a rating that could be even slightly inaccurate so please wait until her analysis comes out.

      Like

  28. I’m sorry if this had already been submitted but if not, could you analyse NCT’s Doyoung’s singing in the video? It’s predebut. Thanks a lot in advance 🙂

    Like

    1. A different link for this same exact video has been posted before, so Imma copy-paste cause I knew I had seen this before:
      “I hear support but tightness in the beginning, his voice sounds too young and untrained, I hear lots of airiness that shouldn’t be there so when he tries to sing with more power, he seems to lose his projection. 0:11 0:17 0:29 yeah those are examples of where he sounds just kind of thin and tiny. 1:23 1:26 those F#4’s sound better than in the beginning. This song is kind of the same thing over and over, I hear improvement from this to now, he sounds a lot more grounded with his support and breathing. His falsetto is far too airy. 3:49 G4 kind just threw that away, there was barely an attempt to support. 4:06 onward, is that why you asked if his voice is agile? Well no. That was hardly difficult to sing, it was fairly sloppy and pitchy. There was nothing positively agile about that, it was quite messy.”

      Like

  29. What is the passaggi for the dramatic baritone, dramatic soprano (Wagner soprano), dramatic mezzo soprano, and dramatic tenor (heldentenor)?

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    1. I am not entirely sure. There’s no dramatic baritone, only verdi baritone. I believe the passaggi for that are Bb3 and Eb4, as for a dramatic tenor I believe it’s C#4 and F#4.

      Like

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