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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8,511 thoughts on “About & Our Criteria

  1. By the end of this video, she hits an E6 in head voice, Which sounds unsupported; but is the sustained C6 by any chance supported? And if not does she support the G5s and Bb5s?

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  2. So i know she has no/a weak sense of support but if i’m not mistaken, she is generally singing more open and relaxed than usual (not to say that she is opened and relaxed, just not as tight comparatively speaking)here. If so, is it because she is not intentionally trying to sound cutesy? I hear it throughout the song, but if i were to give a time stamp maybe 0:29-0:30

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  3. What do you think of this cover of Oh Holy Night? https://www.youtube.com/watch?v=q749xF4K8NQ

    When the girl reaches those extremely high notes, how well is she doing? Especially the whistle register? Just out of curiosity, what are your thoughts on the whistle register? (I laud the talent of people who are able to go to such difficult vocal extremes, but personally I find it unpleasant to listen to :P)

    Cheers, and I hope you have a lovely day 🙂

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    1. This isn’t related to K-pop, so I won’t answer it with detail. I’ll only answer it because I’ve seen it. She was showing off, she lacked musicality. There was no reason for her to sing those notes, except to show off. She was constantly pushing her larynx down for her low notes and raising her larynx for the high notes, so she was constantly straining throughout. The whistle register is impressive only if it’s done well, just being able to do it isn’t all that.

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      1. Do you reckon 2-3 years is a realistic amount of time to give yourself for training if you want to reach the level of excellent vocalists like sohyang?

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      2. If you notice something in our blog, we have no vocalist under the age of 25 who’s rated above the “Good to Great” rating. There is a reason for that. Training your voice takes time, your voice needs to mature and you need to be able to practice for years. It’s unfair to expect a vocalist to be able to become excellent within 2 to 3 years, given that great vocalists are usually closer to their 30’s. So I personally don’t think it’s a realistic amount of time, but it also depends on everybody’s level of skill when they start these “2 to 3 years.”

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  4. Hi~

    What’s the note at 3:03? And is it resonance?

    I’ve learned A LOT since I found this blog and I truly love this blog. Thank you for all your hard work😊

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  5. Hi, thank you so much for your blog.I’m now so into singing because of your blog. Anyway , I would like to know how was Taeil at 2.44 min .Still high larynx?

    Liked by 1 person

  6. Hey! I wanted to ask a few things concerning my singing voice. (Just playing around btw don’t mind the butchered lyrics lol):
    http://vocaroo.com/i/s1XB9zxRiO3g
    http://vocaroo.com/i/s02SZd8LtZFJ

    Was my head voice connected and supported? Did I support the notes well? Btw I’m a Baritone who has ease higher (I do sound like a tenor because I’m 16 lol but it’s really easy for me to hit E2/D2 in chest voice so I guess I’m a Light Lyric Baritone). My voice sounded nasal? Sorry if it’s too much lol but I’m really insecure on my voice, I don’t like it but I want to improve so \o/ Hope you reply soon thanks!

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    1. Hi dear! Is this the first time I hear you sing? I actually do hear a very nice connection in your head voice, although it could be more opened. I’d rather hear you singing throughout more of your range than to talk about support with you for now. You do have very good connection, even in your mix but the mixed Eb4 or E4 had a bit of a shouty quality to it. There’s no such thing as a light lyric baritone. Also you don’t sound like a tenor, you mix like a baritone. You’re not really nasal but you push a bit. Your mixing is actually balanced enough, so you have less issues than I’m used to hearing but I’d rather hear you singing a song that’s not an upbeat girl song down the octave.

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      1. Yes it’s the first time I post a sample of my singing voice lol oh okay thanks, it’s true for the shouty thing because I can’t really sing properly when my family is around (I can’t sing with a powerful voice because my neighbours will complain about it lol) Ah I thought light lyric baritone existed lol nevermind. Btw I’m French so my English is not terrible.. If you want, I sung Listen by Beyoncé in what I guess is my range: http://www.smule.com/p/406491216_1200438681 it’s a duet, I’m the guy who sings the chorus and is louder. Sorry for the triple post, I thought my post was blocked because I entered a lot of links, so I did others.. When it was only awaiting for the moderation 😂 thanks for your reply!!!

        I also sung My All: http://www.smule.com/p/954340362_1200346304 I usually don’t sing male songs but if you want, I would

        Nevermind those finally, I sung with my real voice (I’m alone in my home lol so I relaxed my voice and didn’t really push my voice instead of the other songs) and thought it was WAY better:
        http://www.smule.com/p/1038202199_1203386375
        I sung All of Me by John Legend so I think the song suits my style of vocal and range. Thanks again, I really like your blog, it’s really useful and it’s my go-to site when I’m having problems with my vocals (and KPop singers too) 😄😄 sorry for the lenghty post, I hope you’ll understand 😀

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      2. Oh yeah that’s good, cause I don’t remember hearing you sing. Actually if you a song that’s a ballad, but a high female song, that’s fine for a baritone. It won’t sound as good as the female version because F#2 ~ F#4 is a lot less challenging for you than F#3 ~ F#5 for Beyoncé. But it is a better range to focus on your technique, now I still would rather hear you singing more in a mid range first but since you’re sending me full songs, I prefer this than listening to you singing 30 seconds of a song, and only the climax. It isn’t all about high notes.

        I would ask that you’d be a bit more understanding of us in the future and post less covers at once, since it can be quite time consuming.

        Listen:
        You’re not dropping your jaw low enough, you’re a bit in your nose. 0:30 you’re letting the sound be too low and you’re not keeping it forward enough. 0:41 0:45 careful with your runs. 0:36 and 0:50 you’re not Mariah Carey down the octave, don’t sing like you are. Don’t do the whole tone fade away into a sexy whispery sound, because I know Mariah so I can tell where this influence is coming from. I’m not saying it’s a bad thing, but it’s a bad habit of emulating her style, you’re too heavy and a bit too loud actually. It might be that you’re too close to the mic. 1:09 ~ 1:13 lots of tongue tension, 1:14 1:17 careful with these runs, you’re adlibbing too much throughout. It’s nice that you have those musical ideas, but you have to be clean and commit to them. You have to really be clean, be precise, you shouldn’t just throw in random musical ideas and hope they land. They have to really be 100% sure. 2:08 ~ 2:10 nice melodic change, I really like your ideas. 2:19 This is weird because in your other audios you’re so much brighter and lighter, but you’re so heavy and chesty in this. It’s a very different quality of tone than your other audios. 3:03 too wide, your vowels are way too wide. You need to drop your jaw, not since with your lips spread out. The harmonies at the end would be really nice, if you were in the same room. 3:35 again those R&B He-he-he sounds, it doesn’t work if you’re not 100% precise. 3:58 again musically, you can just sing the song. You don’t need to throw runs everywhere to prove anything. When you sing so many runs out of context, it feels like you’re trying to prove something. Runs are used to embellish songs, not to show off.

        My All:
        This song is even more dangerous, cause this song has a lot of runs naturally. 0:37 again all those H’s, 0:44 dropping the larynx, sliding. This is literally Mariah. You have a very nice tone, it shows in the chorus, but it gets lost in you trying to emulate another vocalist. If you were a girl, it could work a bit better even though I still wouldn’t encourage it. But if you’re a baritone with such a heavy voice singing a female song down the octave, it just sounds out of place. 1:52 again all those H’s that are not in the words, that’s pushing too much air. You’re not using your vocal cords. 2:10 See you have a very nice tone, I really like it actually. I want you to try singing one of these female songs in the right key for your voice once. I would raise it a minor or a major third. So for this one, I would say that you should sing it a couple of keys higher, 4 semitones.

        Also in the future don’t send me audios from smule, they’re stressful because you have to people who are not physically with each other trying to solo their way out of a song and it’s just kind of messy. I’d rather hear you on vocaroo by yourself, cause then I can focus on you. You also don’t even need to sing a whole song, just a verse and a chorus are fine.

        All Of Me:
        Yay a solo. lol 0:23 too much airiness, 0:26 late. You’re dragging the tempo. You’re behind the beat to an extent. Again stop adlibbing without a reason, 0:29 that was nice the first time around but then you did exactly the same thing at 0:45 and then it starts to get old and you’re not surprising the listener anymore. You have very good pitch, I hear tongue tension. It also comes with having an accent in English. Your head voice transitions are really nicee actually. 1:23 Don’t use H to push air so that you can sing higher, support. Don’t push air. Your head voice transitions are very nice and smooth, they’re really really good. You’re not dropping your jaw enough, so your sound kind of stays stuck in the back of your throat. You’re right though, All Of Me is a baritone song. You’re changing the timing and rhythm of so many of the phrases, it seems like you’re not sure of the lyrics and the actual rhythm and it can sound a bit awkward. This is indeed the best for a couple of reasons. It’s a song in the right key for your voice. It’s a solo so you’re not trying to sing all over someone else. Can you not mix above F#4? 3:56 again adding those H’s.
        Your head voice is definitely your biggest strength. Cause All Of Me is supposed to have mixed G#4’s, but you head voiced them all. You had a chesty F#4 in Listen, but you only went up to F4 in the other songs. 4:42 again the runs, they have to have some sort of musical direction, not just showing off. I can hear the Mariah influence everywhere.

        Okay so what I conclude is that you have a lot of potential but then you have a lot of influences that take away from you singing like yourself and you end trying to emulate other people a lot. You have great musical ideas, but lack precision. Your placement is too low and you lack openness. Your diction comes from an accent which can hinder your openness and the vowel shapes. You have good pitch, you have a really voice. How do you practice singing? Do you do any exercises ever?

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    2. Oh, I didn’t think about the Mariah influence but yes she’s my #1 influence for vocals and such. Actually, if you listen to my older covers (don’t do that please), I didn’t know one clue about vocal technique. I sounded like a mess, nasal, throaty and husky literally shooting my larynx up for straining like a goat (I had a heady mix and shouted some awful G5/A5). I hated my voice so I came across those vocals videos and my first influence was Jennifer Hudson (lmao). My voice didn’t get better so I tried singing like Mariah Carey because everyone would said “oh she’s the better singer in this world” and things like this. I finally ended this not so long ago and started listening other artists like Brandy, JoJo, Hyorin etc. Tbh I honestly thought my voice was high-pitched and you’re the first person who said that I have a heavy voice lol. I realised I had a masculine voice and started listening male singers so I try to stop the Mariah Carey style but most of the time, I just can’t! I also try to stop with throwing adlibs everywhere but I think that’s the only thing I like in my voice so I won’t really stop this lol just properly placing them. For the mixing thing, I can mix above F#4, and in a good day, I’m comfortable mixing around D5/E5. I just don’t like belting around my passagio tbh I do this sometimes but since All Of Me is not really a belting song lol I didn’t really mix and I also try to stop belting above B4 because the term support is always misused in the vocal community and I don’t want to lose my voice lol. I watched your video though but it’s just so hard to get. In the Million Reasons cover, I briefly belted a Eb5 but the quality is awful. I definitely go with my head voice (or a heady mix) when I’m not sure if I’ll hit the notes if I mix though. For the All Of Me cover, I literally heard the song 2 times and it wasn’t the original version but a cover by Fifth Harmony lmao that’s why I was lost. I practice singing most of the time, and in my room. I entered at the Music Club of my highschool not long ago. For me, singing is not a hobby, it’s a huge part in my life, I always listen to different types of music (K-Pop, RNB, EDM, Rap, Ballad, Soul etc) and it’s mainly what helps me to live. I often do exercices like the ‘baby ba’ for the support and the brrrr sound but that’s all. I also do personnalised agility exercises, try to reduce jaw tension when doing them (even if I don’t do this at all) and tries to stop the use of falsetto. Most of the time, I just don’t do exercises but can you recommand me on what I should do for reducing my problems? Anyway, thanks for all the tips you gave to me, I’ll try reducing those problems and I’ll post a little clip (or two) for seeing how much I improved. And aw thanks for your compliments it’s really important for me! Bye! (Sorry for the lenghty post again, and the faults too 😓)

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      1. “Don’t do that please” LOL that was funny. Well by heavy I mean you’re not a light lyric soprano, aka Mariah, Hyorin, etc. So you are a man and a baritone so by definition your vocal cords are much thicker than theirs, so you have a heavier voice. I’d be interested to hear you mixing Eb5 as it could be a mask placed head voice. (Although I do know baritones who can shout mix like D5 and I just can’t shout for my life, so I can’t do that.) Well if singing is a huge part of your life and you like it, you have a really nice voice so I’d encourage you to not only keep singing but to also look into getting vocal lessons and working on the basics. Go one step at a time, going for Mariah as a beginner can be a bit much. You should do the light two note Ba exercise to work on proper vocal stretch, placement and openness. I’d rather you show me yourself doing exercises first before you send me anymore singing covers, actually. haha No problem, you’re welcome! ^ ^

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    1. She places her sound a bit far back into her throat and she has kind of an old school style of singing. She was only mixing up to Bb4 where I would say she was supporting. That’s all I can really gather.

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    1. All the notes are strained. She can’t support her voice in the fifth octave. She is constantly belting E5’s and G5’s, which only like 5 female idol sopranos can actually support, so it isn’t reasonable to expect anybody to just be able to hit those notes well. They are hard notes and high, so it makes no sense for us to focus on them singing that high. It’s important to listen to them in a mid range first, then if they can handle that, we can focus on expanding that.

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      1. I see. Her group is considered to be a vocal based group, so I wanted to see if their main vocalist had good technique albeit being not well known and from a smaller company that sometimes neglects them. This is one of her solo covers, would you mind having a listen and seeing how she did? https://youtu.be/3tlemk9em0w

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      2. Oh this is interesting! Everytime people posted about them I would ask for a song that better showcases their singing but the only thing people posted was Mama Do. This helps me listen to her a lot more. Her technique in short is actually really underdeveloped. She sings using her throat a lot, she’s fairly pitchy in the first verse and her voice isn’t agile so her runs are sloppy and usually flat. She’s so rough that I’m not sure Id say she is able to support yet. At least not from this cover.

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      3. Well you see it’s odd but nobody ever posted these before so I was always skeptical about what to think of them. This is better for Gowoon, she sounds a lot less shallow but still underdeveloped when mixing aboce Bb4. Her vocal cords aren’t tight enough in stretch and sound kind of numb. She strained a lot to get that G#5 out at the end of the bridge. Her head voice sounds fairly shallow as well, often pitchy but the overall quality vocally is much better in this one.
        Seoyul is a lead vocalist? She sounds really airy, underdeveloped and shallow throughout. Her pitch is decent but her lower range is mostly just airiness without much tone and the rest of her range is not fully supported at all. She doesn’t really engage her vocal cords at all, if she’s a lead vocalist I don’t see her being analyzed.

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  7. http://vocaroo.com/i/s1XB9zxRiO3g
    Hey!
    Was my head voice connected and supported? Did I support the notes well? Btw I’m a Baritone who has ease higher (I do sound like a tenor because I’m 16 lol but it’s really easy for me to hit E2/D2 in chest voice so I guess I’m a Light Lyric Baritone). My voice sounded nasal? Sorry if it’s too much lol but I’m really insecure on my voice, I don’t like it but I want to improve so \o/ (Just playing around btw don’t mind the butchered lyrics lol)

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    1. You posted your question 3 times. I put it as unapproved so I wouldn’t forget to respond to it. I’ll respond when I have time so please just be patient.

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  8. Hi this is not a kpop question but if you could clarify this for me, i’ve seen people say in some videos that Mitch Grassi has a 6 octave vocal range but i’ve also read he has the same range has Mariah Carey (which would be 5 octaves?) do you know if this is true? thank you!!

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    1. 6 octave range is vague if they don’t say what notes he can hit. I’ve seen vocal range videos of his, I remember like B2 and F#7? So that’s more than 4 octaves for sure, but I haven’t seen videos showing 6 octaves.

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  9. Hi ~~
    Can you give me some thoughts on my friend’s cover of Spring Day? She’s in my school’s music club.

    And can I upload my covers in other languages than English or Korean? Like in my native language?

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    1. I have no idea what song this is lol 0:48 ~ 0:50 she uses a very girly approach, a lot of creaking here. A lot of airiness and a slightly high larynx here and there. The placement is very much in the mask, but without openness from the back of the throat. She overpronounces her R’s which really gets in the way of her singing, because she is really not focusing on her vowels. She focuses too much on the consonants. Of course I understand she has a Vietnamese accent, so it gets in the way of her singing. She has pretty good pitch, but she doesn’t really open up her sound at all and she kind of sounds cute throughout. It’s cute, bright, light and small throughout. She lacks openness, she doesn’t drop her jaw, she doesn’t mix very high, the range is limited. This is a cute cover though.
      And yes you’re welcome to sing a language that’s more comfortable for you.

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  10. Hola! Could you give your opinion on my cover of Britney Spears “Sometimes”?

    I think my only good quality is that I’m not tone deaf and can kinda stay on key lol, but I don’t think I’m really “singing” if that makes sense. Like I feel its forced and kinda fake. I can’t make that “open” sound that you talk about in your reviews and my voice is heavy to the point where I can’t do basic runs. Also would you say I’m a tenor? Thanks in

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    1. Hi honey, this is the first time I hear you sing, right? Yes indeed Shownu is daddy. 0:12 too much of an H sound. 0:14 Creaking. You’re not Britney Spears down the octave, don’t emulate her this much. You’re definitely not tone deaf, you have a very nice voice actually. But the thing is, you’re trying to sing like a girl down the octave without a high larynx, which is good, but the whole breathiness, creaking, cracking on purpose, it’s all very Britney and it works for her but when other people do it, it’s kind of odd. “But you’ll see that, you’re the only one” that at the end was the only time you went into the fourth octave, where you hit C4 and D4. Try doing vocal exercises from the support video, two notes, that’s all it takes to build up a foundation of vocal stretch and technique. Watch the video to be sure. You’ll be able to create a better placed sound with better connection. Overall you were singing from Bb2 ~ D4 throughout the audio, so no, you’re definitely not a tenor. You’re a baritone.

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      1. Yes it was my first time posting a singing clip! Thanks for the feedback, I guess I always sing girl songs because I can never sing guy songs without it going too high for my voice haha, I have a very very small range. I will fast forward to the support video right away! I have been stuck on your breathing techniques cause I thought that was my biggest issue but lack of support sounds more like it.

        Liked by 1 person

  11. Eu ouvi o que você falou sobre eu cantar de um jeito tímido e resolvi soltar mais a minha ”voz” só que ficou um pouco tremido (?) queria saber se existe alguma técnica para estabilizar a voz ou pra dar mais fôlego na hora de cantar. Quero saber também como definiria o meu timbre! Desculpe por incomodar, mas eu realmente sou muito curioso sobre esse tipo de coisa. E obrigado por sempre tirar dúvidas de todo mundo sobre vocal, você é realmente alguém muito gentil por fazer isso \o/
    https://www.smule.com/recording/the-cardigans-lovefool-the-cardigans/452188821_1126427551
    https://www.smule.com/recording/alicia-keys-if-i-aint-got-you/639220531_1168089470
    https://www.smule.com/recording/sakura-card-captor-sakura-card-captors-abertura-pt-br/938274675_1135302842
    E por favor fale um pouco sobre o meu melhor amigo cantando também! E o que acha do timbre dele.
    https://www.smule.com/recording/britney-spears-baby-one-more-time/773495935_1123934789 (essa música é comigo e ele cantando hahaha)

    Obrigado desde de já!

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    1. Oi~ Sabe tem muita coisa que tem que ser feita para arrumar os problemas que você tem. Porque você tá cantando um pouco mais alto, você tem a idéia de que mais alto quer dizer usando mais ar na sua voz e por isso você acaba não usando as cordas vocais. Você tá perdendo o tom do música demais porque tem ar de mais que passa pelas suas cordas vocais. Claro que cantando em inglês também te afeta. Não é uma questão de fôlego, é uma questão não usar tanto ar nas cordas vocais. Você tem que aprender o básico de como esticar, conectar e usar as suas cordas vocais, bem do começo mesmo. Isso é uma coisa de que você realmente precisa da ajuda de alguém com você para poder te monitorar. O seu timbre, eu não sou a melhor pessoa para descrever isso. O seus hábitos vocais são bem semelhantes ao JYP, por exemplo. Eu gosto de você estar se soltando mais, mas também acho que você não faz muitas escolhas boas musicalmente. Para um menino, cantar uma música como a primeira que você mandou ou uma música da Britney Spears não é exatamente uma boa idéia. Ambos vocês parecem tar cantando uma música grave demais para vocês, ambos tem problema com tom e com ar, isso são só por maus hábitos vocais. Nada que sem ajuda não de para arrumar. Ele parece ser barítono, mas você eu fico na dúvida. E eu faço o que eu posso, eu queria poder ajudar mais na verdade.

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  12. This question isn’t really about your analysis, because i know you don’t do them outside of kpop. But have you heard about Little Mix? Britain’s girl group. And do you like them? Do you find them good? Again, not asking for any kind of analysis 😀

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    1. I know them, but I don’t particularly like any of their songs. They’re as good as some Kpop groups, it’s not much of a difference.

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  13. hi! sorry i have a somewhat stupid question to ask that has nothing to do with vocals and you might not know the answer to it but i’ll ask it anyways ^^;

    do you know if it’s possible to produce a vibrato while whistling with proper breathing technique? i already know that singing and classical symphonic instruments like brass and woodwind instruments (not sure about reed instruments though) use the similar, if not the same technique to produce vibrato so i was wondering if it might work for whistling too :p

    thanks :3

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    1. oh! i have a question too, is it possible for someone to…..”not support”? I mean, is it possible for people to undergo vocal training and still not support?

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    2. You were doing the beginning well enough, the connection was there and so was the pitch, although there could have been a longer slide and the jaw could’ve been more dropped. Starting from the fourth note you weren’t matching the pitch anymore and you only got exactly back on pitch around 0:18, so try to be more careful and aware. Slide more.

      As for the two note exercise, try to drop the jaw more and make the sound a bit more like Ah, a little less like Oh/Uh. It needs to be more opened, more forward. You did fine until the end, try to do it even slower to really work on the stretch and placement of the sound. And the last one shouldn’t have been a semitone, so be careful with that, okay? ^ ^ Thank you for posting the exercises, it helps me help you.

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  14. hello ahmin,
    could you talk about placement and projection?
    this is your explanation:
    Projection : To project means to have your voice be heard. For the voice to travel, echo through a room and for it to have enough sound that people can hear it.

    Placement : To place your sound means to use the air and sound that comes from your vocal cords and focus it on certain areas of your body like your chest, head or mask so that they can amplify the sound. A chest placement will create a thicker, lower, bassier sound, a headier placement has more treble and a mask placement is the closest to the mouth.

    1)Can we say projection is focusing the voice? and how can we focus our voice? what are the muscle working(related to CT/TA)?
    2) When we place our sound in chest/head/mask, what are the muscle doing? what are the different?
    3) when we are throaty, what are the muscle doing? (using the other wrong muscle?)
    4) nasal is soft palate lifting no enough and nasal placement? any other reason? nasal will cause unsupported? and what are the different between nasal/mask placement(someone say it is same)?
    5) throat placement is placed too low without support. compare with chest placement, which one is lower? can we say a chest placement without support as throat placement?

    I’m sorry that i have so many questions since i’m interested in these knowledge.
    I hope i have not make trouble for you.
    thank you very much^^

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    1. 1. Projection is irrelevant to the muscles because it will happen with every muscle working. It happens in the chest voice, the mixed voice, the head voice, the falsetto register, the whistle register. It’s to do with volume, not with muscle coordination.
      2. I think you misunderstand what muscles mean. The muscles are the muscles IN the vocal cords. The muscles are ALWAYS working in the vocal cords as long as you’re singing, but of course it depends on what register you’re singing. So CT or TA, it depends on what register you’re in. So the muscles in your throat should be doing nothing, ideally.
      3. When you’re throaty, the muscles in the vocal cords (TA/CT) aren’t the ones that cause the problems, but the swallowing muscles in your throat around your larynx.
      4. No, nasality does not mean someone’s singing is unsupported. If that were the case, half of the average vocalists and even average to above average vocalists would have no supported ranges. Nasality takes away from projection, resonance and openness, not support. Nasal resonance is what some people call mask resonance, I don’t like the term because then it confuses people when trying to differentiate nasality from mask resonance.
      5. Throat placement usually means the sound is also not fully placed in the mask nor lips at all, meaning the sound is pulled back and isn’t projecting well. Chest placement mixes with mask placement to an extent to mix, so it’s not about the placement that’s lower or higher than the other when it comes to chest vs throat, but where the sound is in relation to the mouth/lips.

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      1. thank you for your quick reply.
        2) i mean how can we control muscle to place our voice on head/chest/mask?

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      2. Placement is where the resonators are the located. So where the sound from the vocal cords is directed through the flow of air, so it can be mostly sound resonating in the chest, mask or head.

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    1. I am not sure what kind of answer you’re looking for with your comparison question.

      “0:51 I hear a bit of tightness and pushing on her C5’s. 1:05 she isn’t placing her voice badly, it’s just this almost crack like air pressure against her vocal cords. Her lower range isn’t too clear either but it’s not too low. 1:43 high larynx on the C5. She tends to sing with a high larynx a lot. 1:51 her vibrato is a bit wobbly as well. 2:00 she gets whiny when she starts to use more power cause of her very bright placement but high larynx. 2:10 wobbly vibrato again. 2:15 high larynx strained E5. Her mix is very bright, so her strain is like Ariana Grande’s. It’s masked away and it becomes less obvious, especially cause her voice is still young and healthy so she can strain less obviously. Her throat isn’t very opened throughout, so she lacks roundness. She sounds really edgy throughout. She does have a very nice tone. 3:19 just strained high larynx quality, her throat closed more on the E5.”

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  15. Hi!I’m from vietnam . Recently we bought the rights and made our masked singer version and there was this singer . He have been winning consecutive weeks . I’m sorry but if you still analyzed foreign singers can you take a look on him =3 He got pretty positive reviews in our country. although the show is not famous among middle-aged people , many singers from 20052006 came on and lots of late 80s early 90s born people came to like it =D This is video :

    He has more clips too but I choose this , maybe in other performances he sounds better . I don’t learn singing so I don’t know much haha . he sings mostly ballad =D

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  16. Hi! I’ve been enjoying reading all the analyses on this page, and I’ve been trying to learn more about vocals ever since I found you guys 🙂
    I was wondering if you would kindly evaluate this cover of 김건모’s 아름다운 이별 by Lee Si Eun, who was previously a Kpopstar contestant and recently debuted! (although she’s kind of unknown(?)) https://www.youtube.com/watch?v=iW_phxyXjcg

    Especially from 2:05 onwards leading up to the D5 @ 3:01, was anything resonant? I believe she can support pretty well, but was hoping for a professional opinion on her 🙂

    Much thanks for your time and effort!

    (she also just uploaded a Davichi cover, https://www.youtube.com/watch?v=DrOxiXblpc0 but I think it’s too much to ask you guys to analyse this too, so it’s okay! Just in case you wanted to listen more 😉 )

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    1. 0:14 the F#3 had tone. 0:19 the F3 too. She adds too much air when she sings, some random H’s are coming out from words that don’t have H’s in them. 1:08 up to A4, I hear support and very nice dynamics as well. 1:24 very little tension that creeps in around Bb4, but it’s not enough to take them away from her. Is that Joohee next to her, from 8Eight? I haven’t seen her in forever. 2:23 aye vowel is an issue. 2:42 B4’s with support, slight pushing. 3:02 C#5’s and D5’s are quite strained for her, but overall not bad. Since I like that Davichi song, I’ll give it a listen and I’ll mention anything I find noteworthy. So she supports from the first video, but I don’t hear resonance. She lacks openness. I don’t think she supports above B4, 2:30 judging from that C5 in the Davichi song and the D5’s throughout.

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  17. Muito obrigado pela ajuda! Você tem ou conhece algum canal do youtube que dê aulas de canto? Sempre tive vontade de fazer, mas tenho muita vergonha de cantar em público e não sei se posso pagar, então pela internet eu acho que é mais fácil! Você pode me recomendar algumas músicas para cantar com o meu amigo? Percebi que cantar músicas femininas não ajuda muito a descobrir qual o meu tipo de voz,e eu realmente estou muito curioso sobre isso x-x e o que são hábitos vocais?

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    1. O meu canal tem aulas de canto. Outros qual eu recomendo são da Felicia Ricci e da Natalie Weiss. Eu acho que seria melhor vocês cantarem músicas da Disney cantadas por homens, como I See The Light da Rapunzel, ou até When She Loved Me da Sarah McLachlan do Toy Story 2. Hábitos vocais? É o que parece, um hábito que você tem quando canta, como usar a garganta demais, não abrir a boca, suspirar, etc.

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  18. Hey ahmin , does Jihyo support in 0:47 – 0:53 and 1:43 – 1:48?
    And do u know what is the highest supported note of Jihyo to date?

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    1. As a baritone, I don’t think you should be singing a girl group somewhat uptempo or even mid tempo song, the song is not built for your voice. You have quite a bit of tongue and jaw tension, you have pretty nice pitch but this song is not written for your voice so the range is too narrow and you are singing like a soprano down the octave, C4 is not that high for us. You lack support and you push from your throat, because it’s as if you’re trying to make C4 as high for you as C5 is for a soprano. Careful with the nasality as well.

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  19. I know I should work on support exercises but I am super busy with tests T.T so I hope you can give some thought on my old cover with my friend. It’s in Vietnamese so I hope there are some problems that only appear when singing foreign language – tho I don’t expect much haha. I’m the one who sings latter with “heavier” voice and I also do all the harmonization too.
    Oh and this was recorded months ago
    Thanks in advance 🙂

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    1. The harmonies are really not blending well, they sound unclear and I’m not sure it’s a harmonize as much as sort of an octave unison without precision. I don’t really hear support anywhere throughout, the legato isn’t very clear either and there’s a lot of cutting off and a crackly kind of disconnection throughout.

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      1. Can you explain more about the cutting off? Because if I don’t misunderstand this then Vietnamese words always end with a vowel so I tend to stop projecting note at the end of each sentence/line and we kinda tried to copy the way the original singer sang it so each word is intentionally separated except for the chorus. I tried google for cutting off but I don’t really get a clear definition of this. Thanks in advance 🙂

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      2. What I mean is that the singing is very staccato throughout and I’m not sure how much of that was intentional.

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  20. Heeey, i’m wondering why Hello Venus hasn’t been mentioned. Is it because the vocalists are not skilled enough to be analyzed? If that’s the case, can you check out the next video and tell me your thoughts on the main vocalists?

    Alice (0:54-1:08,1:28-1:31,2:09-2:15,2:42-2:45,3:09-3:12,3:46-3:54)
    Lime (1:09-1-22,2:28-2:31,3:13-3:16,3:39-3:42)
    Seoyoung (2:01-2:08,2:50-2:53,3:20-3:23)
    I don’t think they are very strong, but are they really not worth of analyzing? Not even one of them? Maybe Seoyoung???

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  21. Hello, how are you guys doing? 🙂 Haven’t been here for a while and I can see people are still as persistent as always haha
    I do have some questions tho, hope you don’t mind answering them.
    1. After reading JYP’s analysis (which made me realize how much I actually don’t like this guy) I started wondering… Idols from his company are easy to notice because of this half-air technique. After so many analyses, did you notice a similar pattern in other companies, like SM or YG? Is there anything in their singing styles that makes you think: oh, they are trained in the same company?
    2. You made me realize how many cool Western vocalists are actually underrated, I am really thankful that I found them through you. But I noticed most of them are women. Do you perhaps know any male Western vocalists worth checking out? Beside guys from Pentatonix, because I know they slay haha.
    Thank you and have a nice day 🙂

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    1. Yoo Youngjin has a singing style that he kind of teaches to his students, so many SM male vocalists have a similar sound when they mix higher and higher. As for YG, they don’t really do vocal training as YG says it damages their uniqueness, so they practice on their own. So they don’t have a signature sound, just throatiness/lack of vocal development with basic technique. As for western male vocalists, honestly aside from perhaps David Phelps and Peabo Bryson, I really don’t know.

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  22. Hi Ahmin and the rest of the staff, I’ve been following this blog and reading the analyses since the first week it opened a few years ago, though I don’t listen to as much Korean music nowadays. Still a fair amount in my listening catalog though. Around the same time I started singing as a hobby and studying voice, and I’ve had a handful of lessons with vocal teachers both online and in-studio only to be dissatisfied with the results due to conflicting answers about technique and my voice, etc. I’m at a point where I’ve made a lot of progress but I think I have regressed in the past year due to not singing and training regularly as well as not taking enough care of my voice/external factors affecting my voice. I was going to ask at some point what you and the staff do or think personally regarding vocal health and longevity, and if you have encountered any issues or vocal problems that you were able to solve through natural means, etc.

    My full range as of now starts at A2 (recently I feel like G#2/A2 is where it stops being comfortable although I have extended to F#2 in the past) to A6 where I’ve used a whistle extension musically (more consistently to F6 recently, it’s like I’m dropping range in both directions) And the people I studied with said I could mix to C#5, but now even A4/Bb4 is challenging at times. I’ve been told I’m a tenor by one coach and a full lyric baritone by another, and I have no idea where my true passaggi lies, so it’s been a little confusing. I had to sing live at an event a few weeks ago and was having problems from G#4 onwards and I couldn’t figure out why. I do notice I get tired significantly faster than I used to, but that could just be from a long period of not singing, not sure.

    Sorry for the length of the introduction but I felt it was necessary to give some kind of background! I made a recording today for the purpose of providing an example for you of where my voice is at. I sang 내 길 더 잘 아시니 by Cheon Kwang Yeong here – http://tinyurl.com/mkunkxc

    I found discomfort as high as C3 initially until my voice warmed up a bit, and ironically I picked this song because I didn’t want to do something too range-y after not singing/having vocal issues for a while. I can hear support and resonance (and lack of) in singers, but in my own voice I still have a vague idea about what is supposed to be correct, and what I’ve been told in the past also does not help if that makes sense.

    I would also like to provide a recording from last year April of Someday (Mariah), I’ve removed the backing track so it’s easier to hear my voice. It’s 2.5 steps down from the original key. At this point I feel like my voice was in better shape and I was experiencing less tension overall and I could do a lot more with my full range. http://tinyurl.com/lpjogtp

    Are there any major differences in sound production or support/lack of? What am I doing incorrectly or inconsistently and how should I correct it?

    Thank you for your time.

    JL

    Like

    1. Hi JL~!

      I apologize immensely for the delay, I was only able to respond to shorter questions than yours because they were either people who sent in their audios before so I didn’t have to give as much thought and be as thorough because I would be repeating myself many times. With you, your message is very long and detailed, so I didn’t want to miss anything and I wanted to give you the best of my attention that I could, so I had to push responding to this much until later. Thankfully I’ve found time and here I am.

      Well Pandayeu was just telling me the other day how he thinks Sohyang is a good example of longevity, a vocalist who’s reaching her 40’s but has only improved her technique over the years. She rarely ever does unhealthy things for stylistic reasons and so her voice has remained mostly pretty healthy and so she’s still able to sing without issues now. For me personally, I feel like although I’m still rather young, my voice and health have only improved the older I’ve gotten. I’ve not had any issues with regression, only being stagnant for some years. Otherwise, I’ve only felt like I’ve improved so keeping vocal technique as a focus really does help. 2013 me vs 2017 me are very different.

      So although your intro was extensive, I still have a question. What is it that happened between then and now that you feel caused your singing to regress? Lack of practice? Improper teaching? Bad habits? Also there is no such thing as a full lyric baritone as far as I’m aware. (Honestly even light lyric tenor and full lyric tenor are arguable terms we use for the convenience of not wanting to use leggero too loosely.)

      Let me now take a listen to your audios and see what I can hear:
      0:13 there was a quick A2 there. There’s an accent that comes with your singing when you sing in Korean, it kind of happens mostly around L/R’s and the some vowels. There’s a lot of raspiness when you sing. You have a very nice voice, you sound like a friend of mine. I hear issues with the raspiness and a kind of stuck feeling in your throat when you sing higher. If I had to guess, I’d say you speak Spanish? But I could be wrong. lol 2:02 you produce some nicely placed notes around the range below F4. Is this a CCM song? Cause the lyrics seem to be talk about religious stuff. 3:00 A4, very pushed and pretty throaty. I would say even the F#4’s were relatively throaty, with some throatiness around E4 as well. It also comes from the fact that it seems your vocal cords are very swollen. It’s as though you are unable to connect them so a lot of air passes through when you sing. There’s a lot of raspiness.

      0:13 G#4 in Someday. 0:22 You pushed down your larynx around that B2. You sing with a lot of depth in tone, with too much pushing from the throat, too much rasp and too much chestiness. You place the sound way too low and then you pull it instead of allowing the sound to move into a more comfortable resonator. You can belt pretty high actually, it’s pretty impressive that you can get these G#4’s and A4’s out. There’s just too much air that comes through when you sing, although it is a lot less raspy in the upper mixing for this clip than in the more recent one. 1:52 B4, that was really pushed and throaty but you can mix really well despite that. You also seem to push your larynx down while singing with a lot of rasp and thickness. 3:14 there was a C#5 in this. 3:37 F#6 what? LOL That just came out out of nowhere. Why is this so well recorded? Even the harmonies are so nice, the quality seems very high. Is this really you singing?

      So here I heard what? A2 ~ C#5 ~ F#6? Which is almost all of your range. Now I hear a lot of issues with lack of proper vocal cord closure, lack of placement, lack of support and a lot of pushing, while still keeping the larynx unhealthily pushed down. See now I’m going to say something that’s kind of dangerous. At first I thought you sounded too heavy to be a tenor, but the more I listened, the more it seemed like you mixed a bit low around D4 but you kept pushing with such relative ease even though it was high and your low notes seem so uncomfortable…like your voice doesn’t seem to sit there. I was going to say you were a baritone cause at moments you reminded me of Hwanhee and Hyunmin, but slightly lighter. The raspiness and chestiness reminds me of Hyunmin, but then you started mixing higher and I got it! You sound a LOT like pre-2007 Park Hyoshin. Like the raspiness, the darkness, it sounds a lot like how he used to sound back in the day. You COULD be a similar case to him in the past, how he used to sound thicker and you seem like you could be a full lyric tenor like he is? I could be wrong though. I think your voice could be produced much more lightly than you’re doing so for now. Why don’t you try reading Park Hyoshin’s analysis and seeing how he’s changed his technique? The way he changed could help you A LOT. You have such similar issues.

      Like

      1. First I’d like to say thanks so much for such a thorough response and finding the time to give me your full attention, it means a lot. No worries. I’ll address what you mentioned as best as I can!

        I’ve listened to SoHyang before and she definitely is in control of her instrument. She’s always featured in those vocal technique videos on YT-I think WestVoice or eternalsilverlight had a video I saw a while back that focused on her musicianship and agility and some other aspects of her vocals in great detail. But yea, I just turned 23 last week and I started trying to develop my voice around 19, so I’d rather fix things now rather than later.

        As far as regressing, I think it’s a combination of the three – bad habits, weird teaching, and lack of practice. I’ve had three teachers to date. The first one was adamant about pulling chest as high as possible in order to both warm up properly and to learn to mix. Which i guess is partially true? But I quickly found that for me anyway it was pretty dangerous since I was still learning the muscle coordinations. This is who told me I was a tenor. I stopped with him because I felt like I wasn’t really making progress based on his instructions but exploring on my own. Then I decided again I wanted to try training with someone.

        The second teacher I had I think was teaching me pretty sound technique that involved training a classical head voice on pure vowels from E5 or so down all the way to the third octave, and he emphasized finding and training “twang” in order to produce mask resonance and mix higher. He said that without a doubt I fall within the baritone fach. I stopped with this person because he was doing some things I thought weren’t becoming of a teacher and I didn’t want to be associated with him… The third person I’ve only gone to in-person once, and she immediately picked up on the fact that I was using onsets that were really pushy and that the rasp I had (this was a few months ago, so fairly recent) would limit me musically if I didn’t lighten up.

        As far as habits goes- In the time that I think I used to use a lighter approach more often, like 2015 to last year, I had an alcohol problem and I was going through a bunch of changes in my personal life with my physical/mental health. I don’t drink heavily anymore, haven’t touched alcohol since January but that was on vacation. And I don’t know if this would affect my vocal consistency but since I was young I have had frequent sinus infections and a bunch of respiratory issues, which have gone away as I’ve aged, but I don’t know if they had any effect on my vocal cords or the surrounding muscles. I’ve considered getting my vocal cords checked out/scoped but I don’t know if really have to or if it’s not a concern.

        I’m a native English speaker- I live in America atm, but not of Spanish ancestry! My Spanish/Italian/French is pretty decent though after studying French through school for almost seven years and listening to Spanish/Italian music. My Korean vowels when singing need work I’ve been told, yep. Yeah this song is literally addressing God as far as I know, it’s from the Korean soundtrack for The Prince of Egypt animated film sequel from way back when. I actually have a sore throat/cold right now, so I must have started getting sick since before the weekend and the recording. I’ve been producing and publishing covers and original songs to my soundcloud for a few years now, and they used to sound horrible but now I try to make clean recordings. That “Someday” track took a few days I think because I remember having to go back and clean up the harmonies. So yes, it’s really me singing!

        I remember reading the Park Hyo Shin analysis. I’ve listened to a lot of his work both from recent years and from before he made changes and there really is a vast difference, and I prefer him now even though there are a few performances I still enjoy from his debut. I know that for instance Lena Park who has such a light voice already is able to use rasp at will, so good vocalists should use it stylistically and not just have it present in their voice almost constantly like in my case. I would like to be able to choose when to have distortion as well, lol- When I read what you just wrote comparing our issues something clicked. I had started a cover of Wildflower months ago and I felt like I could handle most of it until the climax G4-Bb4-C5 section where I felt like I couldn’t get a proper balance of air pressure and it just ended up sounding pushed and throat-placed to me. Something tells me the Hyo Shin who recorded “The Only Thing I Can’t Do For You” would have had similar issues in that section based on the way he sounded, but who knows. I’ll take another look at the article and try to focus on the technical changes he made. Thank you again for your thoughtful advice!

        Like

      2. Awww you’re very young. A lot of vocal coaches are very obsessed with chesty belting, honestly at one point I was being taught like that too and it wasn’t very helpful. Twang is really not bad, but I wonder what he did that seemed kind of unprofessional. I’d say stick with the female one, she seems to make some valid points. I agree, Hyoshin then would struggle with Hyoshin’s current repertoire. I also knew you were an English Native Speaker haha but I see I see! I hope you’re able to overcome your bad habits, but just know that you have a beautiful instrument.

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  23. Hi. I’m a baritone. I had support and relaxed sound up to C4. But now I seldom support C4 and always have tension with it. For the past few months, I am singing songs that have many F#4/G4. Do you think, singing too high causes regression? 😦

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    1. I was just passing by. Singing wrong technique in any kind will cause regression (i think), but if you are young, then regression should not have happened to you.
      But just wait for the admin to answer, I was just testing my knowledge. Let see if they think I’m right or not

      Like

    2. It can cause you to develop bad habits if you’re not ready for it or simply never fix the ones you already have but while you’re young it shouldn’t physically damage your voice right away so you have time to fix your approach.

      Like

  24. Hey Ahmin, I have sent to your email may contest video of my singing. Could you help me with a review for it. Sorry for not posting it here, i’m too shy. I hope to see your comment soon

    Liked by 1 person

  25. please tell me if my guess is wrong, this is thunder’s video from mask singer. he has support on his voice at couple part, but still very nasal and that vibrato on 01:48 is wobbly?

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    1. É uma extensão vocal bem pequenininha. A partir de 0:20, ela começou uma harmonia fácil da música na voz da cabeça dela, foi bonitinha. Foi em geral meio grave, sem nenhuma dificuldade e a técnica foi suficiente exceto pela nasalidade no começo. Por que você não postou esse vídeo na análise da Minzy?

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    1. Hi dear! First of all, I would not suggesting singing this kind of song to begin with. An upbeat girl group song? Not the best option to work on your singing. You should work on vocal exercises, we have plenty of vocal tips videos. I’d suggest starting with #1 and #8. You’re correct, you’re a baritone. The harmonies aren’t bad, good job. You sing very softly. Your mix isn’t pushy or chesty, which is nice. Your pitch is good throughout, you’re just a bit airy throughout. You lack connection, you lack the openness but you’re not nasal, you don’t have too many issues with airiness, it’s just you’re always very soft and you lack development of the chest voice muscles as you ascend in range.

      Like

      1. wow so fast! I really like this song lol. Awww this is better than what I was expecting XD I thought I was really terrible. Once again, if I practice more can I be at least a weak vocalist? well, I will check your vocal tips later 🙂 thanks a lot, I am happy to have your analysis XD this blog makes me wanna learn about vocal technique more and more. Good luck and fighting!

        Liked by 1 person

  26. alright 😀 lol may I ask again? XD is it bad to have a soft voice? when I sing in a choir my friends said that my voice is too soft that I need to sing more louder, I have try my hardest but seems soft voice is like the characteristic of my voice (lol what). Sorry to bother you XD Thanks again and have a nice day

    Like

    1. It means your muscles aren’t fully developed so you lack volume and power. It’s not unhealthy but musically it’s limiting.

      Like

  27. Hello! Thought to ask you if you could analyze this performance on the latest episode of Immortal Song by Nam Kyungeup and Min Woohyum. Have heard of them? The former is a Korean musical legend, the latter a rising star. Nam Kyungeup is the shorter one (he’s actually like 5’8″ but he looks so short cause the other guy is really tall lol). I was wondering has the better technique. Woohyuk belts much higher, I think like up to Eb5 or somewhere there, so obviously you can’t really expect support on those (I think he uses a really heady tight mix for those, is he using a high larynx?). But other than that, he does hit like A4 at 3:47, multiple A4s at 4:00-4:05 and sustained one at 4:16 which all seem to have clean technique to my ears. Also a quick Bb4 at 4:08 and I thiink C#5 at 4:14, where it looks like he starts to get tight.

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    1. All of the A4’s that I’m hearing from Min Woohyuk are generally really tight and whiny, the throat is mostly tight and the larynx seems high. 4:20 throaty and I hear a laryngeal vibrato from both. I’ve never heard of either, Nam Kyungeup sounds like an old school baritone and Min Woohyuk a tenor. Woohyuk has very shallow support when mixing higher, it’s very throaty and tight.

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      1. I see. Thanks for the info. Really digging Nam Kyungeup’s voice, does ‘old-school’ mean that he sings with an older style or technique? Or do you just mean he is old? I definitely have trouble judging larynx position, especially for high larynx. Is there a particular sound or ‘effect’ I should be listening for (i.e. frogginess for lowered larynx).

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      2. Old school means old style which means older technique, which often means slightly in the throat. For a high larynx, it just sounds kind of thin and flat, without roundness and it’s almost as if they’re pressing on the note, it’s a quality that’s hard to describe.

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  28. Hi! I’m obsessed with your thoughtful analysis and now I’m back to do some catchup binge reading. 😝

    It’s my first time commenting here though, though always thank you for bringing such consistent work – It’s… really amazing. 😳💕

    I’ll admit I’m not sure how this is going to go, because I’m still a new person to you… and it’s really scary to put your own voice out here, how does everybody else do it? 😳

    How am I doing, just in this song? https://youtu.be/0hQMtQVQU8s

    It’s okay if I’m not openly active enough to respond to… I’ll also try to make more effort in commenting. >\\\< 💕 But all in all, thank you! 😄💝

    Like

    1. Hi Gabi dear. Oh no, we have no such things as favoring people because they comment more often. I actively make an attempt to reply to every comment we get, as long as it’s a question that actually needs to be responded to. There were moments where you put the sound too much in your nose, especially these specific times: “Brings me” “Still feel you here” “keep me without chase” “just the way.” For 2:32 “here” that was flat and the Down C5, the belted one you weren’t badly placed and the vibrato relaxed you but you pushed too much with the throat to get the chestiness. 3:04 a bit off key for those notes. So aside from those moments, I am actually more than pleasantly surprised. You not only have really good pitch and a beautiful voice, you use great connection and you place your sound mostly pretty well in your chest and in your head voice. You transition really well into head voice and your vibrato is also very nicely present. You have a very consistent sense of support throughout, I find it hard to believe that you’d be untrained. You have had lessons before, right? You need to work on how you mix, don’t use a shouty quality to sing louder. You don’t need that much air pressure and make sure your adlibs stay within key.

      Like

      1. I woke up this morning to an email notification with your reply! ^^

        I’ll admit… I was excited but also very nervous to see how your response will be. Because your website’s purpose is for Kpop vocals, I wasn’t sure how you’d would respond because my request is diverted from the main focus, right? I was even holding my breath I was so nervous. XD

        But imagine the surprise! 😀 You must’ve listened to it multiple times for all the detail you put into your response – thank you, thank you!

        I’ve read it thoroughly and I’m floored because there’s things I have both noticed and didn’t notice at all until listening through it again with your reply. (i.e. I didn’t notice 2:32 “here” was flat)

        I’m also incredibly surprised and humbled by your positivity in my singing.I’ve technically had vocal lessons before but a majority continues to be self-implemented. While I had a vocal teacher, he frequently cancelled his lessons with me, even while we were supposed to be working together on a consistent basis. So a lot of it continues to be my individual in-the-bedroom-with-my-hairbrush practice and exploration. XP So with so much based on individual understanding, it’s relieving to hear that I’m doing okay. ^^

        I’m actually surprised to hear that I have a consistent support and connection because I didn’t think I did, and to hear that makes me confusingly happy! 😀 Mixing is something I’m constantly lost on, and even though I’ve read about it, all I can understand is that it’s a combination of the chest voice and head voice – but I’m not sure how to go about it, or how it would even feel like when I do. O_o

        To be responded to really means a lot to me – I want to thank you again for putting so much time into writing such a detailed reply! ^^ Thank you!

        Like

      2. Oh yeah you’re right the focus is Kpop but I’m an instructor. So if you want help for your own singing, isn’t it my job to help you? ^ ^ The only audios I listen to that aren’t Kpop are users who want to work on their singing and yours was one of the best by far. Well I’d suggest #8 and #2 for the vocal tips on mixing, it should be easier for you cause you support. So could you tell me a bit more about your vocal lessons? What did you learn? Was it in person? Etc.

        Like

      3. Wow, are you okay with that? I’ll be honored to be honest! 😀

        I’ve read through those articles before, and I’ll look through it again – thank you! ^ ^

        My vocal instructor was pop & musical theatre focused, but had understanding of classical training that allowed him to work with students that followed that style of singing. He’s an amazing teacher, and I loved working with him. But after two of his students passed through audition round of American Idol, a LOT of parents and kids requested to work with him. Our lessons ended up often cancelled/rescheduled until they eventually stopped.

        However, I audio-recorded our voice lessons, which I revisit and it helps me a lot! He started me on basic body alignment, breathing and vocal exercises on certain vowels (such as i: as in geese, or u: as in you) to achieve a more forward sound. Focus on head resonance and chest resonance – he never had the chance to work on mix resonance with me, even though he wanted to. All the lessons were in person – but he also recommended me a lot of reading material (printed articles, etc.). He showed me what to do, but a lot of exploration in regards to accessing resonance were from my own consistent exploration without him.

        I have looked for other vocal teachers as well. But when I ask about mixing, the reply continues as “It’s just something you find yourself – I can’t really help you on that” And eventually other circumstances didn’t really make it work for them. That’s why I was so excited to finally receive someone’s ear on what’s going on for me! ^^

        I recorded another song by the way (via cell phone in my bathroom), I’ll link it here – https://www.youtube.com/watch?v=xuG3iFg4ReI&t=125s

        Like

      4. Sure and especially with you, since your voice is really nice and you have more than decent technique so it’s easier to address things with you because where you are right now, it’s easier to improve. Oh so he got really popular and requested, so you couldn’t really book him anymore I see, I get it. Actually printed articles, that’s interesting. I kind of lack on that, so I’d love to have some sources too. That is some bs about mixing, that’s not something you find by yourself without ANY guidance. Sure you have to feel it and when you do, you’ll know what it is and you’ll know what to feel for but an instructor has to know how to give you some guidance to get you there, “I can’t help you on that” is some bs.

        0:10 issues, a bit too nasal. 0:11 “swear” is a G#3, don’t let go of the stretch of the vocal cords. If you’d like to whisper it stylistically, then that’s fine but then you do it again later at 0:20 “go.” 0:27 ~ 0:30 you’re a bit too sharp in this part, you’re supposed to be singing Gs and Fs, and I hear G# in there. 0:31 again be more precise and clear with the melody, it’s not clear what notes you’re singing and then you whispered the last note, it sounds like you’re not sure what the melody is. 0:34 a bit pushed but really well placed Bb4, you remind me of musical theater singers who often push too much chest as they get close to C5. 0:46 C#5 not badly placed, just a bit tight. 0:51 C5 not bad actually at all, but drop your jaw more when singing those higher notes, focus on the lifting the soft palate and aim to have the sound grow more in your throat so that it can round up more in the fifth octave. 0:58 very nice transition into head voice. 1:03 again a bit too sharp, control the amount of air you push when you sing. 1:17 “true” was a bit nasal. 1:26 look at you actually hitting the G#3’s, so if the first verse was stylistic it’s fine. 1:50 very slightly pushed. 1:57 a bit too chesty of a C5, too pushed. You remind me of a headier version of this one girl who sang How Far I’ll Go, I’ll show you. 2:19 again a bit too sharp. 2:48 open more, you can handle these notes. The thing is you’re mixing, it’s not like you can’t mix, it just lacks the proper approach for now. You have a beautiful voice, you sound great singing musicals.

        This girl:

        Like

      5. Hi! I’m sorry for not being able to reply lately, especially with how fast your responses can be. I haven’t mentioned it before, but I’m currently on medical leave from college so I’ve been overwhelmed with CBT therapy. If it’s okay, can I take my time to reply? I also want to look back on your article you suggested I’d re-read! ^^

        Liked by 1 person

  29. So I finally found free time – and quiet place – to record my exercise:
    https://drive.google.com/open?id=0B1QYUGguxLGVOUptN2RoMXFZZGs
    https://drive.google.com/open?id=0B1QYUGguxLGVVGl1M2YtLXVyWkU
    Last time I recorded a lower ver of All Of Me so I was surprised to know its original key fits baritone – which is why I have a side record. How is my vibrato here? And I’m having a sore throat for almost 3 weeks so my falsetto sounds… annoying, I tried to switch to head voice but then it would become nasal and whiny.
    And a side question – somehow I always include unrelated side question with my recordings: how high and low can Somin (KARD/April) support? I hope she’s at least average.
    Thanks in advance 😀

    Like

    1. I do like it that you’d sing the lower version of All Of Me because the original is a bit low. Why don’t you wait for Somin to be analyzed?

      0:18 There’s a bit of a Ha going on when you switch from one note to the other, which indicates that the stretch of the vocal cords isn’t tight enough and you are letting air pass through to direct each note. 0:34 here again it’s happening. It doesn’t happen all the time. 0:41 this is where I start to hear your tongue going backwards and closing your throat, which also indicates that your larynx isn’t neutral anymore and you’re closing the throat with your tongue. That’s happening around G#2. 1:27 back to the ha’s. Again it’s something that happens on and off, but it kind of keeps your voice from being stretched properly. 1:56 drop your jaw more, keep your tongue forward and the sound closer to your mouth. Make it light, but not airy. 2:10 airiness is creeping in. 2:29 the stretch is nicer here, try to make it more like this, keep it consistent. Make sure you find the note with precision, don’t let the connection be gone. 2:47 F#3 and upward, too much air and then you started to rub the throat and the vocal cords, while making the sound become gritty and throaty. 3:24 Bb3 to C4 is where you’re starting to not only let the tongue get more in the way, you’re unconsciously using more air pressure and not enough of the vocal cord stretch. Your voice is getting louder, simply put. You’re pushing more and more the higher you go. Instead of mixing lightly and using your vocal stretch to strengthen the vocal cords, you’re pushing with air pressure, which makes you get louder. This is what I would rather hear you doing exercises, because you can target a lot of parts of your range and discover where the issues start to happen. For you as you see, from A2 ~ F3 you can inconsistently get it right with minor issues with inconsistency of stretch and connection. When you go below A2 and above F#3, you start to allow the smaller issues take over the stretch almost entirely and then push, let the tongue become tense and close your throat, and you start to get tense. Thank you for showing me the exercise, I greatly appreciate it. Try to fix the way you sing with the exercise, it will translate into your singing the more you do it and the more you encourage these better vocal habits.

      For All Of Me, I hear everything that I hear in the exercises but in the context of a song where you lose air, where you’re throaty, where you’re tense and your tongue is mostly very tense as well. See if you can work on those things I pointed out in the exercises and try them again. ^ ^

      Like

  30. Hi ahmin,
    As you advised it, I tried to focus on the airiness of my voice and to not whisper while I sing with exercises I found here and there . Anyways, I just wanted to ask you if it would be good to make another cover with another song so that you can analyse my vocals more I guess ?… (I admit the first one was quite bad lol). So if it’s OK, I’ll work on it and send it to you during the week…

    Liked by 1 person

      1. Perhaps I was not specific enough with the exercises I wanted you to do. I actually was hoping you could attempt the exercises from the vocal tips for Kpop fans #8. The reason being that the two note exercise focuses on concentrated support, connect and vocal stretch. This exercise you didn’t isn’t bad, but you’re too breathy. The notes are too quick and I would want you to sing slower to make sure your pitch is very precise. You were pitchy, it’s too fast for you and it’s too many notes so you’re not focusing on stretch nearly as much as I want you to. Try the two note exercise from the video. ^ ^

        Like

  31. Hi! I was wondering what you thought about BtoB’s vocals and their, I guess, rankings? in comparison to other boy groups in the industry?

    Like

  32. Hi! Are you familiar of Morisette Amon’s supported range? I noticed that she’s kinda pitchy, stylistically doing cracks, generally airy and lowers her larynx in chest voice. Thank you. 🙂

    Like

    1. Hi! I am passing by. Please allow me to answer your question. Hehe 🙂

      Male: KRY(Super Junior), BaekChenSoo(EXO) and JongTaeNew(Shinee)

      Female: Davichi, CSJH, and 15&

      Like

    2. You’re most welcome. Based on their ratings in this blog, they’re after SJ’s KRY as the strongest male vocal line. 🙂

      Like

  33. Hi there, I found this video of Kihyun (Monsta X) while he was on singing battle. I was hoping if you could do a quick review of his performance.

    Thank you and keep up the good work!

    Like

    1. 0:09 A4, high larynx and pushed and there’s a shaky vibrato throughout. 0:45 nice F#3, 0:45 some pushing on the F#4, a bit too much pushing. He lets out too much air pressure when mixing even that low. He supports pretty well within the third octave above F#3. 1:31 I hear pushing and a lack of proper stretch with those F#4’s, being continuously hit. 1:52 high larynx A4. 2:54 again a high larynx A4. He sounds slightly less closed than what I remember and less shallow around F#4, but there’s still not enough stretch and connection that I’d say he handles support around that range well. Thank you!

      Like

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