About & Our Criteria

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Vocal Analyses



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 all knowing 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. We encourage healthy discussions about technique! Thank you.


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 discussions are welcome. Bashful and hateful comments will be deleted. Every idol mentioned here is 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.


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.

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.

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.

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

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

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 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.

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.

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.


The new labels on the blog will classify vocalists and label them within their own stylistic choices, vocal register development, supported ranges and where their strengths lie. This isn’t to say anybody is better than anybody. This will merely classify them within their own styles. A vocalist may fit into more than one category at a time.

MH Vocalists: Mid-Range Head Voice Vocalists

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

Sopranos: Up to at least D5 up to G5/G#5
Mezzo-Sopranos: Up to at least C5 up to F5/F#5
Tenors: Up to at least A4 up to D5/Eb5
Baritones: Up to at least F4 up to Bb4/B4

HV Vocalists: High Head Voice Vocalists

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

Sopranos: Starting Around A5
Mezzo-Sopranos: Starting around G5
Tenors: Starting around E5
Baritones: Starting around C5

MB Vocalists: Mid-Range Belters

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

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

HB Vocalists: High Range Belters

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

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

M Vocalists: Mid-Range Vocalists

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

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

ML Vocalists: Mid-Low Range Vocalists

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

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

LR Vocalists: Low Range Vocalists

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

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

S vocalists: Stylistic Vocalists

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

C Vocalists: Commercial Vocalists

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

MA Vocalists: Melismatic/Agile Vocalists

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

WR vocalists: Well Rounded Vocalists

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

For further question you can check our “The Team” page and contact us directly if you’d like.


Ahmin & Pandayeu




10,806 thoughts on “About & Our Criteria

  1. Hey, i just wanna make sure about my vocal type. i do think i am a baritone but yeah i dunno for sure. this is link of a my messy cover video of Davichi – 8282 in Baritone(?) key i think

    and also can u analyse it for a little?

    anyway thank you so much
    loves your blog so much!


    1. Honey, you sound very light and soft. I’m not entirely sure of your voice type. You sound very boyish, very light and I’m not sure if you’re just a very soft light singing baritone or a tenor singing outside of his range. Aside from the issues with diction that I’m hearing where you’re not really using your jaw so your vowels get tight, especially when you get higher, and the general kind of half-whispered raspiness from the way you sing. Again if you don’t speak Korean, don’t sing in it. I do think your pronunciation is actually quite nice, but it’s just that you might encounter issues with the vowels if you’re not 100% comfortable with the language. You sound very shy, like you’re scared of being loud and at this point I’m not 100% what your voice type is cause it isn’t obvious. You’re not really nasal though actually.


    1. I’m afraid not dear. I would not attempt to sing by loudly pushing out a high note if you have yet to establish normal breath support anywhere in your range.


    1. Well Sohyang as we have in this blog is one. A vocalist with excellent vocal technique. Beyoncé is another that arguably could be. Natalie Weiss for sure. Arguably Mariah Carey and Whitney Houston in their primes as well. As for males, I don’t know of any but we have a few great vocalists like Peabo Bryson, probably David Phelps, Jung Dongha is in between, Naul, Park Hyoshin. That should give you an idea of the kind of skill that they need. It’s not just about high notes or low notes, it’s how they sing them. The control over their voices when they do sing them, when they sing higher and lower, the volume control, the register change control, the transitions, the texture changes, they have choices they make with their voices and it’s within a wide range of their voice, as opposed to a limited one octave of limited textures, support and qualities.


      1. Are you almost done with Ha Hyun Woo? Where does he fall in your old ranking system? ( excellent, great, good, etc…)


    1. “They’re really flat throughout the beginning of the song so far, I’m around 0:40 seconds and they keep going far. They don’t lift the soft palate, they don’t manage air properly, they’re really shallow. They’re super pitchy throughout and yet can kind of pull off harmonies? It’s very odd.”


  2. Hello Ahmin! So I really want to find out my voice type but I don’t know how to and after watching your debunking video on altos I am even more confused. (Thank you for the informative video btw) so I was wondering if there was any way I could have you analyse and let me know? That would be a great halp actually!
    And I just wanted to ask that if yes would it be sufficient if I linked a small part of me singing or would you need more like a few different parts to judge?


  3. Hello again Ahmin! So I uploaded a sample of me singing so you could hopefully tell me what voicr type I probably am? And maybe give me an overview on how I’m doing, what I’m doing wrong and how to improve my horrible singing. I haven’t had vocal training and I’m not a very good singer I must add. But that would be a great help :”) I’ve always wondered what voice type I was. Thanks in advance!


    1. This is you singing? It’s very soft singing. I wouldn’t recommend singing in Korean if you don’t speak the language, cause worrying about diction can get in your way. I think you have a pretty voice, it’s very soft. It kind of reminds me of Hyorin, here and there. It’s hard to say much, but you don’t have a lot of weight in your voice. The problem is that you sing with a lot of breathiness so that can make your voice seem more limited. You might think your voice isn’t high because you might have that impression that you can’t go very high but that’s mostly because you’re singing with so much air, without connecting your vocal cords enough, so there’s really only so much range you can sing in without needing to go into falsetto. Your pitch is more or less there, it’s just a matter of connecting your vocal cords and starting to really use them while developing support and your voice will do things you never expected them to do before. You don’t seem to be anything but a soprano but who knows once your voice is developed, it could change.


      1. Thank you so much for the feedback! 😀 is there any advice you have for me to sing with less breathiness and more connected vocal cords?


      2. Thank you so much for the feedback! 😀
        Is there any advice for me to sing with less breathiness and more connected vocal cords?


  4. I know this is not kpop. But i wanna know if this (3:59-4:02) is wobbly or what? And in (4:33), is it inhale or exhale bcs it sounds weird to me. Thx before.


    1. The vowel was closed and so she was a bit hoarse and the vibrato was laggy. It’s exhaling, but it’s very breathy. This is not the best I’ve heard from her.


      1. Yeah, maybe her thoath is kinda tired bcs her tour dates. And i found out her singing style kinda breathy lately, but yeah her upper register so far oftenly between falsetto, airy head voice or better head voice. But I’m not sure what is that one in 4:33, but i thunk not supported?


  5. Hi ahmin, I know this isn’t K-pop but I really want to hear your opinion about the high notes in 3:34

    and 2:58

    It is often said that J-pop singers sing nasally but is that because of Japanese language is naturally nasal or just their singing style?


    1. I don’t think it’s because of the language because I’ve heard enough Japanese singers not sing through their nose, it’s not necessary to sing through your nose in order to remain true to Japanese diction. 3:34 High larynx, the A4 before the C5 was already a high larynx. 2:58 Again the Bb4 before the Eb5 was already a high larynx.


      1. Oh, is your email still leeahmin33@gmail.com then? I ask cause I emailed you a couple days ago but you haven’t responded so I thought perhaps you didn’t take emails anymore. Either that, or the email I have is wrong.


    1. People have asked me about her before. I think she sounds more like a mezzo, personally. Her vocal habits are pushing the sound from a low placement, pushing the larynx, being heavy. So she sounds heavier than her natural voice. Plus she’s aged so her voice is lower too.


  6. Hi! I’m 100% sure that these days, there seems to be a huge surge of idol groups lip syncing to tracks that are purposely recorded to sound like it’s live (filtering the sound so that it sounds like a microphone’s feed, leaving in breathing sounds etc). Not that I’m hating Red Velvet (i’m a big fan actually), but they serve a good example. This is a performance that I believe is lip-synced (which I think is reasonable as it’s a comeback stage). Take Wendy’s lines at 1:19.

    Sounds amazingly “stable” for lack of a better word, and the vocal track sounds “live”.

    Now this performance I believe is later on in promotions and so SM actually let them sing live. Wendy is at 1:16.

    You can hear she’s puffed and her voice bounces with her movements and her pitch is noticeably less accurate, which is much more realistic considering how tough the choreo for this song is.

    Now, I don’t have a problem with the live-sounding lip sync fad… in fact it improves the overall quality of the performance so much and is much better at gaining attention of viewers. But I just find it sad when people comment things like “they must be tired” or “they must be sick” on the actual live performaces because the standard has been set so high by these deceptive “live” vocal tracks. It’s also hard not to cringe a bit at people who comment on how “stable” their idols are despite the fact that they’re somehow singing perfectly while jumping all over the stage. It also hurts to see people getting into arguments about whether their idols are singing live or not when in reality, it’s much harder to tell nowadays and being able to hear breathing means practically nothing. Would you agree?


    1. The first one sounds clearly lip synched to me yes. I agree with you. The second one does not, it sounds live. I mean with that much movement, you have to sound out of breath like that. I agree with your comment as a whole, yes. I feel the same way.


  7. what do you think about Lara Fabian’s mix voice? chestier/balance/headier?
    compare with sohyang, who is more balance?
    as i heard from Lara Fabian, i think her mix voice sound like headier mix but i don’t know why her voice look like very big very thick and weight.


  8. Why are the ranking labels changed to types of vocalists? Was it to avoid future arguments, feuds and backlashes over the rankings? Or just to educate people more on singing?


    1. One thing you should probably not ask me is to listen to your vocal technique while you’re singing harmonies in a group. If it’s not an isolated vocal, it’s not the best thing for me to try to hear your voice. Sorry.


  9. Hi, first of all, the people who own this blog, and the contributors/experts/vocalists themselves only have the right to determine where this blog is heading. As much as i understand the reasoning behind this move, i am frankly admitting that this move is very disappointing for me. But yeah, i guess we are at a point of no return here, not to mention how much effort must have been spent to implement this change. The ranking system worked because it encompassed all the aspects of a singer’s technique and presented in a way that made it easily understood for fans with/without vocal background. Fanwars will be there regardless of any changes tbh, and i dont think eliminating the ranking will stop it. My issue with this change is not because of the ranking but because of how confusing this change is in terms of comprehension. And as some wrote, hard to see their improvements and regressions too. It’s too bad when something good succumbs to stupid fanwars, and i mean this generally. I’ve followed your blog for a few years already. And with the old ranking, i take pride in singers who took the effort to improve themselves. Besides, vocal techniques shouldnt be the sole reason for liking a certain singer. It’s not a crime to like technically-weak singers anyway, it doesnt even determine the success of their careers. Ok, enough ranting here. Wish you all the best in ur future undertakings

    Liked by 1 person

    1. Even though it is true that us eliminating the ranking may not stop fanwars, it at least keeps us out of being at fault for it or being a reason for it. Instead we can be truer to our own philosophy of wanting to teach and actually carrying about vocal technique and educating instead of competition. Perhaps this change will at least let people know that THAT is true what we care about. I understand your frustrations and I agree with them but we have to think of moving forward into the future. Let’s see what happens and if this doesn’t work out, we might suddenly come out with a new ranking chart and update everything next year and people will be shocked. LOL

      Liked by 1 person

  10. Hi again!
    Congratulation on the big change of the new arrangements! So this is what you meant by “big change”, huh? ^^

    So I stumbled upon this video and found someone commented about Ha Hyun Woo’s mix in 5th octave. He said,
    “There is a ton of vocal distortion and it is something alot of people stuck in the pop world take for “Straining” or ”screaming””
    “….his distortion is not straining like 9/10 of people here think, but something that requires an even better technique than that plain run based on a C5 and is ALOT harder to achieve .”
    “Ha Hyeon woo’s Vocal distortion is the most extreme thing here. At 3:36, he sounds like a freaking guitar, such an heavy distortion run without straining!”

    I’m not gonna ask you about HHW since you’re gonna analyze him someday in the future but this is the first time I hear (not sure abt the term) about vocal distortion. I mean is that even a thing? And how do you tell if someone is merely straining or simply doing runs with vocal distortion? And how is that even healthy?


    1. Ha Hyunwoo is a specific case. Yes there is a way to sing with distortion to the voice, there is distortion that happens due to strain or compression in the voice, and there is distortion that’s used in the Rock world to sing with the same quality of distortion that a guitar has. Now I don’t know who this person is and I haven’t been taught extreme vocals, but I am aware that there is a way to sing metal and extreme rock with distortion that’s not unhealthy. The thing is I do hear stylistic devices used in this example of him singing that doesn’t sound necessarily strained. There’s definitely a difference in the way he sings and the way Jung Dongha sings in his upper head voice with throatiness, where Dongha’s is a lot more strained. Hyunwoo’s is less in the throat and more just very bright. I’m not entirely sure how consistent this or how on purpose and whether or not he can turn it on and off at all. But I’ll find out I suppose.


      1. I can’t answer this right now without having analyzed him but I remember that anything above F that I heard was head voice.


      2. lol I forgot with question mark

        So, did Ha Hyun Woo never mix his voice in upper fifth octave (let’s say, E5 to A5)?
        If that’s so, no wonder his high notes in Hayeoga sounds more like a Head Voice instead of Heady Mix Voice


  11. Hi Ahmin and the less vocal/active others in charge.
    I’ve no clue where to put this so I’ll just put it on the main page and hope you see it. I think you could greatly benefit from a FAQ page(and a better search engine but that seems a lot more problematic) to help save you some time answering common recurring questions and maybe help organize the comments on their appropriate pages for idols etc.

    Few obvious ideas for the FAQ page would be to move the criteria there as well as some other frequent questions:

    Why wasn’t idol/singer X analyzed/isn’t going to be analyzed?

    Where should I direct questions about idol/singer X?

    I know I had a few more I commonly see while browsing but they’ve escaped me while typing but obviously you’ll know what to put their if you make the page. Hmm maybe a page or something specifically for viewers to post clips to help with future analyses or ask question would also work as well. Just a few ideas to hopefully help pay you back for all the amazing work you’ve put in on this project.

    Liked by 1 person

    1. Well that is indeed a good idea. I don’t know, it seems kind of dumb that we never thought of it. I mean we do have the rules in our future analyses list and stuff, but even some of those like people asking questions in the wrong page and stuff…Thank you btw!

      Liked by 1 person

      1. It seemed like a silly and obvious oversight to me also that I almost thought there was some reason for it, but then I remembered all the times I’ve overlooked something incredibly obvious or seen someone else do it and remembered that everyone is still human at the end of the day so I figured I’d speak up. It was the least I could think of as thanks for what you guys do.

        Liked by 1 person

  12. Hey Ahmin, I have a question about vocal technique. I notice when I sing higher notes, there’s like a hole the forms in my throat. If you look at the Beyonce clip I posted, it looks exactly like when she’s singing at 1:17. Is this a bad thing? Does it have something to do with the larynx/tension? Thanks!


    1. To me personally that has to do with slightly running out of air so you push a bit more than you have to with your throat muscles. It’s recommendable, but I suppose it can happen sometimes if you don’t take good breaths.


  13. Hi,Ahmin!
    This is the performance of JooE(The Most famous member of Momoland),How about her vocal performance?Is any support note happened in this video?


    1. Her C5’s all sounded lik they were sung with a high larynx to me. She has a pretty voice. She has some support but it can be quite shallow and she doesn’t employ it often enough as I’m hearing it.


  14. Hey Ahmin,

    I am a bit sad that you changed the category, but I know it is necessary to avoid fan war or silly debates. I still save your original one.

    May your blog be unwavering from times to times. Love your analysis so much!

    Liked by 1 person

  15. Long time not writing any comments (and send recordings) here lol
    Okay, so i have a lot of concern regarding the change of the rating system, but idk. I kinda have an idea. You can bring back the original rating with modification (numbers maybe?), but, you can add a “hall of fame” page to highlight what technique is mastered by a particular vocalist, for example, jung dongha, ailee, shannon, luna, etc in “head voice king and queens”. Sandeul, son seungyeon, younha, lee haeri in “resonance beasts”, or something like that. Ugh, it’s really hard to explained, and to choose the catchy (?) words is more confusing and frustrating. Also, you can add FAQ and mini bibliography for new adders and/or visitors.
    Bcs you know, i think it’s not fair that vocalists who are really good and have shown more and far better capabilities than other vocalists will not be acknowledged and will look same with bunch of not really special vocalists bcs not many people know what support is and what are they sounded like, even there are still don’t know what C5,A4,etc are. They will slowly getting more and more confused and will lose their interest in this blog. It’s like, it’s not fun anymore.
    But truly, i appreciate what you guys analysts and admins have done. It’s really a big change and actually i would still love this blog but, you know, we losing the fun so much

    Liked by 1 person

    1. I think the hall of fame idea is dangerous because it acknowledges some but not others. Also calling people beasts or queens is hardly professional, it sounds like stan twitter talk. I’m interested in adding a FAQ page though for sure, dunno why we never did that. lol I agree that for those who don’t know technique, this system does not do the work for them and won’t tell them right away who’s worked harder on their technique.

      Liked by 1 person

      1. I was thinking like, it’s better to highlight the good things without look like showing the obvious bads so ‘harshly’, but yeah, i too realized that it’s also dangerous bcs every vocalist has their own flaws and strength, moreover, if it’s a proficient and above vocalists but considered don’t master a particular technique, it’s also not fair for them, it’s like we’re degrading them. And lol, i mean not literally queens and beasts, my vocab is still very limited but i think about words to simplify what so special about that vocalists so they can included in special page.
        Yeah, people who don’t know techniques, and some people who never bother to read, i’m afraid they would even jumps to conclusions that, let’s say: HB vocalists. They might say that “oooh, high range belters, is that maybe singer A, B, C, D…?”
        And then she/he didn’t find them and then asking you about why is A and/or B aren’t in that list bcs they are belting high and sounds so good. It’s like you have to explain repeteadly to them, with more difficulty. The worse, maybe: more label, better. Ugh. You know, there are some of my kpop mutual that want to know more about this blog content so much, but they’re not really grasping that vocal technique is quite complicated (language barrier too) and with this changing, idk if they’re still willing to stay to know more.
        Hm.. To pursue your future career, you need to sacrifice something even though most people won’t like it, and you also find it hard yourself

        Liked by 1 person

  16. Hey, i’m practing vowel shaping, it really helps and i think my diction is better. Also, it’s still hard for me to sustain in 애 than ee (which also tend to make me tense), what should i do? Sometimes i hate my tension so much lol


    1. Aye is a vowel that requires less of a back of throat shape and a bit more of an opened sound. So people tend to squeeze the back of the throat more than not, but you should keep it as close as possible to how an Ah feels so that the vowel can remain opened.


  17. Hello Ahmin ! This is a cover of iKON’s “Love Scenario” of a group that I’m very close with.

    Despite the language being vietnamese, could you pay attention to the technique of the boy at the bottom right? since the others are pretty much obviously weak Tenors and a Baritone to me

    Is that bhe supporting well ? Any technical issues with him? Is he more likely to be a Tenor or a Baritone ? (He told me that he’s a Baritone)

    He’s shown that he has developed a head voice also, here is his debut song, not overly loaded with autotune so the vocal performance shouldn’t be too hard to analyse.

    And if the rating system still exists, where would you put him ? 😛


    1. 1. You know not to ask about non-kpop vocalists, I’ll just answer briefly cause you claim to be their friend.
      2. Do not ask about ratings, you know I wouldn’t rate a vocalist without a full analysis, this is no different.
      3. You’re posting a studio track! You know you’re not supposed to…To talk about vocal technique..ㅠㅜ Why..

      Honestly you’re underestimating the tenor on the top right. He is mixing much better than I’ve heard from the average Vietnamese vocalist. I don’t hear the quality of him singing with a lowered larynx unless it’s extremely necessary for his vowels. Both songs are studio tracks and their lip synching isn’t very good…so they should probably work on that. I’d really rather not analyze someone who’s not asking me themselves and if perhaps they can’t speak English well enough to ask me, well then it’s hard because I’m not familiar with Vietnamese as a language and out of all the languages I know of, Vietnamese is the only one where I can’t tell if manipulating the larynx is 100% necessary in order to sing in it and so I fee uncomfortable talking about their technique without understanding the languages’ phonetics.


      1. Oh God I’m so so so sorry I totally forgot about your policy to ask only about K-Contemporary artists !

        Either way, I’m actually surprised that you pointed out the boy on the top right as a Tenor because the way he mixed made me think he’s a Baritone. I think his pitch was accurate and he sounded full.

        However, my question was related to breath support, not how well they mixed, and I asked about the boy on the bottom right 😛 But since you insisted on the fact that they’re studio tracks (even though it’s not too processed imo…), I guess I’d have to refrain from asking… :/


      2. I didn’t mention the boy on the bottom right not because I misunderstood you, but because yes although I do agree he’s a baritone, these videos aren’t good examples of proper singing for me to talk about breath support at all.


  18. Hey Ahmin, how are you ?

    I’m working on my support above E4 because I really want to be consistent on F4s in terms of support, placement etc

    So far, I exercise with slides and after that, I just sing the note with the A vowel, this is the result:


    Is it alright ? If it’s not, what are the things that I should change ?

    I also sung a F#4 which was easier btw and it’s also bad but I just wanted to know how to improve ?

    https://vocaroo.com/i/s14F1kGl9ujV (volume warning)

    Thanks ! I like the new categories of singers btw


    1. It really feels like your voice is slightly unstable like it wants to do a run. There’s a bit of a bounce that’s great for runs, but that I wonder if you can eliminate when sustaining notes. But that might be me being picky. Otherwise, it’s not bad, a bit of pushing so are you able to do it any lighter then add volume then get quiet again? The F#4 is well placed but it is even more pushed. Try singing both notes softly and then focus on adding more volume then taking it away again. Oh I’m glad you do!


      1. Actually I have a cough and my voice is easily tired which may explain the pushing. The F4 note is usually a run and I guess I prepared myself to do it lol but yeah I can make my voice less unstable c: happy to know the F#4 was not bad though lol Do you think F4 is the top of my supported range ? Pushing and inconsistencies usually happen at the top of a supported range so that would explain a lot

        I made the note softer too (the bounce thing … I know what you’re talking about lol I guess it’s because my voice isn’t in good condition ? It sounds sharper and less full than usual):


      2. Don’t lock the swallowing muscles when you sing that high, they kind of closed your throat. Use the vocal cords to control your volume, not your throat.


  19. I want to ask you about the flat and sharp notes on the piano. I saw a comment on Youtube stating that notes such as D# and Eb are different. He said that human voices can reach these two seperated notes. However, the piano cannot produce the sound; therefore, they merge the two notes together for a note in the middle of the two. What is your opinion on this?


    1. I’d be curious to know who said that but lately it seems a lot of information has been coming from one specific source, so if it is that source, I’d rather not know who it came from. LOL But I can understand that concept as the human voice can sing every note in between E and Eb. Technically speaking, I’d assume what they mean is that a D# is a note that’s closer to D than it is to E, but it’s higher than D therefore it’s a D#. The same goes for Eb, it’s closer to E than to D, but it’s below E, therefore it’s an Eb. We generally just call that exactly what it is. I’d say “That note is a sharp D that’s not quite an Eb.” But for the sake of the music most vocalists sing, diatonic music, we follow the scale played by a piano. So unless we’re singing non-diatonic music that actually uses the notes in between, like a note in between E and F, or in between G and G#, then for the purpose of the music we talk about and the context of it, we’d only have E, D and a note in between that can be either called Eb or D# depending on the key we’re in. At least, that’s my understanding of it.


  20. Hi, I just wanted to ask what you would do if someone asked you to analyse.. say Suzy, but as a solo singer, not as part of a group.
    I am genuinely curious because I have read the list you provided and the rules and criteria and thought it would be interesting to ask about this.
    Please do not misunderstand, I’m not trying to make any requests, this was a genuinely hypothetical question.
    I’m actually sad you only analyze the strongest vocals in groups because when I came across this I was hoping to find something on BTS’ Jimin, as I felt he’s evolved since debut, but I understand your reasoning. You have things scheduled until 2019+, that’s something..
    Another thing: I’m glad I found some educated opinion on that thing Jungkook does with his voice which I find rather unnecessary in a few songs, and, as you wrote, not really well executed. Vocal runs, was it? Thank you for naming it, I had no idea what it was, and why it bothered me so much xD I guess his lack of proper training was the cause.
    I think it’s a shame so many idols debut without much vocal training, when if done, it would very much outshine what they’re capable of doing now.


    1. The thing is, and I mean this respectfully, we do not really have to analyze anybody we don’t want to. Since we aren’t getting paid for requests, we have the freedom of choosing whom we’ll analyze. We generally like to analyze main and lead vocalists of groups or vocalists who are very well known and respected for their singing or vocalists who are underrated. Now when it comes to vocalists who have left their groups, we have stated we don’t analyze them unless they have enough material, media attention, requests and if we want to as well. In the case of artists like Suzy, CL, Sunmi, Hyuna, Amber, Eunjung, Hyomin, Jiyeon, and so on and so forth, we just would rather focus our analyses on vocalists who are more vocally oriented as opposed to spending our time on an analysis for a vocalist that’s more geared towards their image, music and being more commercial in singing. So although Suzy is a popular artist, she’s not much of a vocally oriented artist and thus, I hope it’s understandable why we’d rather focus on other people instead who have little to no recognition for their singing due to lack of popularity, or legendary K-pop vocalists who are unknown to international audiences as well.

      I agree with you and I hope to be able to change that. Honestly I did want to analyze Jimin at first and to an extent I still do, but I have my personal reasons for feeling like we’ve covered enough members of BTS and should instead on artists who are barely known. Recently I’ve analyzed CROSS GENE and FIESTAR, both groups rarely talked about for their singing who are honestly somewhat underrated as they’re as good as many other vocalists out there. It’s a shame, really.


  21. hello ahmin , \i have a bunch of Q , if u were to kindly answer them , i know u r busy

    i just wanted to know if members in cross genes would be considered above average ( the previous ranking ) ?
    i owuld really appreciate it tho , if after u do NCT or JUNE of IKON , u would still tell what rank they r in , according to the previous rank , i know it is alot to ask but to me who is barely knowing music it was alot easier to understand , i know u guys did that due to immature fan wars but immature fans will still remain immature ,
    i would like to ask do u know RED mouth from masked king ? she is currently the king , i would really love to hear ur opinion on hear (general opinion )
    and i have a video of gummy in JYP concert , i know u r yet to analyze her , maybe it would help ?
    thanks so much for this amazing blog , it is really nice to see how u guys work so hard to be updated and to always improving and adding new things

    fighting !!

    gummy :



    1. Thank you for the material for her and this Red Mouth lady is called Jungah? She has support, that I can tell you. I’m sorry, but I will not answer questions regarding rankings publicly. I’m not going to rate anybody with our previous rating system either. If you read the analysis, it can be self-explanatory and if you’re unsure, you may contact me directly if you do not share the information with anybody. If you do, then I won’t answer that question even when asked directly.


  22. oh sorry for the inconvenient request , no i dont share , how to contact u directly ?
    i was just asking , as i only knew So Hang by the ranking , since she was way up the list , i thought of checking her out , and shanon isnt well recognized for her abilities too ,
    thanks tho
    i dont know her name for sure ( she didnt take the mask off yet , she is the king ) but alot of comments are saying her name is SunWoo jungah ( yeah i guess that is the one u meant ?)
    i really recommend checking her other performances

    and btw i dont know for sure but ppl are saying this one is june from IKON(didnt take his mask off ) , maybe it would help too” racing car ”

    so he will be performing in the next episodes . maybe it would help
    thank u for the fast reply , im really looking forward to JUNE and NCT analysis . LIKE REALLY excited ,(NCT now have 4-5 main vocalist !!!! and they have a comeback soon !! maybe it would be good material for u guys !)
    Thanks for taking too much of ur time !!


    1. That is exactly who I meant yes. You can contact me via facebook (our facebook page), twitter or anything else. Racing Car? He doesn’t really sound like Junhoe to me, so let’s just wait until they take his mask off to be sure. Sometimes it sounds like him but I’m not sure tbh.


  23. Hey Ahmin!

    I was recently (re)watching Rosé’s Fantastic Duo 2 performace of Please Forget Me, and even though I listened to the audio version on Youtube, I was surprised to see that it’s Rosé who actually does the note from 1:07:34 to 1:07:40 because I hadn’t watched that part before? I thought it was Gummy lol

    Anyway how’s that note? I think she did well? Is it kinda high or not that much for her range? Thank you for your answer



    1. No, he is not a baritone at all. He is a tenor. He supports and has good placement, but his A4’s are very shouty. His G#4’s can also come off as shouty. He has a very clean approach in his singing, his diction can be a problem in Korean at times.


      1. Oh right.

        I guess I mistook him for a baritone because of how he sounds in lower 4th octave then.

        Thanks for clarifying it for me 🙂


  24. I just want to give you a shoutout about the recent changes you made. I personally prefer seeing the individual strengths of these artists instead of seeing which rank they fall into. Besides being more educational with singing techniques, It also highlights the actual strengths of these artists. Not to mention, you’ll be at peace and won’t get backlashes from people who don’t agree with your ranking anymore lol. Kudos to you! 🙂


  25. Hi Ahmin. I have some questions, again…
    1. Sometimes if I sing high, there’s a weird feeling coming from my ears. It feels like my ears are going to burst. I know I’m exaggerating, but you get the idea, right? Is that normal? Can you briefly explain?
    2. Another weird feeling. Sometimes if I place my head voice in the mask, there’s a tingling feeling on my tongue. I think it’s because I don’t fully place my tongue on the back of lower teeth. I place my tongue slightly higher, so my tongue touches the tip of my lower teeth. There’s a vibration coming from my teeth, maybe? I assume that’s why there’s tingling sensation on my tongue. Can you explain that for me too? Thank you.

    About the new ‘rating’ system, I think that’s a good decision. Everyone has their own criteria of vocalist. Every vocalist doesn’t have to become an Excellent vocalist with very wide supported range, resonance,etc. What if a vocalist doesn’t aim to become an Excellent vocalist, or if a vocalist doesn’t even trained properly. It just doesn’t seem fair to judge a vocalist with the old criteria, especially in K-pop. That’s my opinion.

    You’ve done a great job. I hope with this new system, there will be less negativity and comparison between vocalists.


    1. Hi there!

      1. That feeling is like when you need to pop out your ears when you are under a lot of pressure, like high altitude in an airplane or under water? If so, then that’s what happens the soft palate is lifted while you sing so the sound is placed a bit higher.

      2. I am not sure what this one would be. I’m not sure I’ve ever felt it but if you’re placing the sound in your mask and your teeth vibrate, then your tongue may tingle if it touches it. So your explanation makes sense to me but I’m not sure if that’s exactly why.

      I’m so glad you think so. I think with time we’ve all grown and it was a good time for a change. I’m old enough now, I’ve matured and I think letting go of that system is a good way to move forward.


  26. Hey Ahmin oppa, I really liked your analysis and keep up the good work!

    So I’m often confused about the term nasality and sounding whiny, I can’t really distinguish between these two. Mind explaining what’s the difference between these two?


    1. Hi there! Thank you! Nasality is a quality that happens when you sing through your nose. Whininess is a quality that happens when you’re overly narrow and bright in sound. So even if you may not be nasal, you can be whiny because the quality of the sound is thin from a high larynx and bright from the placement of your voice. Whininess is a more intense narrow, bright quality associated with nasality. But you can be nasal in your low range or chest voice and that wouldn’t come off as whiny because it isn’t bright. At least that’s how I understand these terms.


  27. *Big Sigh* I know before that questions about this singer would not be answered due to the potential controversial reactions…however I will try my luck and ask anyway…Ahmin will you please tell us what Michael Jackson’s strengths are?,meaning how he would fit into the categories now that the criteria has changed and doesn’t focus on skill level…or would it still be too risky to answer? If you don’t answer I’ll understand…

    I apologize for asking this question but I figured that you might familiar enough with him to answer.


    1. I believe since somebody had mentioned him a few times in their videos, that this may be motivated by said individual. I honestly don’t listen to Michael Jackson enough to talk about him with our current standards. I’m actually not THAT familiar with him. I have an idea, but I’d rather not risk it.


  28. Hi Ahmin! I was just wondering how Seunghwan did on this A4 at 2:53. Is it supported?
    Also is 3:07 a supported head voice?
    Thank you!! 🙂

    Oops! Totally forgot to include the link.

    Also while I’m at it, is his G4 resonant?


    1. There’s a lot of reverb there. 3:07 It’s more like a falsetto. The A4 was well placed but it’s full of reverb and I hear a shouty pushed quality. The G4 is supported but it’s not the most opened I’ve heard from him. I’ve heard resonance from him up to G4, but that vowel was too narrow for it to happen.


      1. Ahhhh my instincts were correct with the A4… I still have trouble with hearing the difference between head voice and falsetto though. I’d also like to add that out of all the singing videos on youtube, yours have helped me out the most! You’re doing a great job. Keep it up!

        Liked by 1 person

  29. Okay. I was reading over this criteria page again when I saw the the gaps between the ranges written for sopranos, mezzo-sopranos, tenors, and baritones. Since I am currently a soprano, I took it upon myself to count up how many semitones it would take for songs for other voice parts to fit a soprano range. Based on my calculations, I found that a soprano would need to transpose a mezzo-soprano song up 2 or 3 semitones, a tenor song up 5 to 7 semitones, and a baritone song up 9 to 11 semitones. Now, considering my last sentence, I believe some information about the twelfth “Vocal Tips for K-pop Fans” video should be changed. If not, I would like an explanation as to why the information in the video isn’t edited. Thank you!


    1. I’m not sure I understand why. In the video I stated that if I’m singing Rolling In The Deep or a song by a soprano with a C5, the best place for that in my voice would be an Eb4. And for a tenor a G4. Thus G4 is 5 semitones below C5 for a tenor and Eb4 is 9 semitones below C5. So this system is pretty consistent with what I said. You just said 9 to 11 or 5 to 7, because as I said in the video, it depends on your level of vocal development. Like Kyuhyun is a tenor and so is Park Hyoshin and yet they sang Wildflower in different keys and I sang the baritone version of Kyuhyun’s key, not Park Hyoshin’s key. So the video and this system are consistent with one another.


      1. Yes which is why I said a soprano song with C5, I used Rolling In The Deep in the video because it was something people know and it has C5.


      2. Are there any popular songs for mezzo-sopranos that also have a C5? I’m still confused, since you said that “Rolling in the Deep” was a soprano song instead of a mezzo-soprano song.


      3. You’re thinking too much and too strictly about it. I used Rolling In The Deep as a female song as an example of C5, but yes it is a mezzo-soprano sung because it’s sung by Adele. Many mezzo sopranos sing up to C#5 all the time and higher. Sopranos and mezzos are closer in range so sopranos rarely raise the key of mezzo songs for them to sing, that’s why Ailee and Hyorin sing Halo in the original key. Again like I said it depends on the vocalist and how they feel about their vocal range and tessitura. I mean even tenors often sing baritone songs in the original key.


    1. To me, I hear a very shallow quality. She wasn’t singing high throughout, so it makes sense that she doesn’t sound tense to you. But because she’s still singing with not much connection or a tight enough stretch of her vocal cords, while engaging her diaphragm, she sounds pretty shallow and this song is kind half-spoken. But the quality of her singing is always half-spoken. 1:51 ~ 2:08 she is singing many A4’s throughout here and although they’re not “strained,” they sound very shallow and they don’t carry support. Kyulkyung is very thin, airy and again shallow. Eunjung has a slightly fuller quality to her singing but neither of them show very well developed support.


    1. Hi dear! Your style is very thin and acoustic. It reminds me slightly of Passenger, or other British acoustic indie vocalists. It’s mostly pretty relaxed, but it gets a bit tight and thinner when you get higher. But you didn’t go very high here, so it wasn’t too much. Your accent in English sometimes makes your vowels come off a bit more closed than necessary. Otherwise, you sound very fitting to this style with enough support behind it. Some breathiness in the falsetto especially, but for this song specifically the way you’re singing works within the genre. Good job!


  30. Could you give me some advice for my technique? I guess I’m too chesty and “shouty”. So, what do you think? It’s just 40 seconds lol. Thank you!


    1. Hi there!!

      Wow you have such a pretty voice! I think that that you’re over exaggerating your R’s and that’s kind of getting in the way of your singing because it creates some tension and blocks your sound because your tongue gets in the way. You definitely support. Aside from tongue tension and some pushing, this wasn’t bad! Just be careful with the breath that comes through when you add Hs in the runs.


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