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 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.

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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 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.

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

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.

Regards,

Ahmin & Pandayeu

FUTURE ANALYSES HERE

THE TEAM PAGE HERE

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10,387 thoughts on “About & Our Criteria

    1. RP as in role playing? I am sorry but I don’t see the purpose in answering questions comparing two vocalists, so I’d rather not.

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  1. Hi, it’s my first time leaving a reply at this website, but I was curious about Gfriend Yerin’s singing, since many people are saying that her singing got worse, etc, so here I am, with some of her live singing clips.

    1) https://www.youtube.com/watch?v=ZluvtV0hONM
    Here 0:07 to 0:16

    2) https://www.youtube.com/watch?v=zThUeUQbCss
    0:02 to 0:19, 0:37 to 0:57, 1:23 to 1:43

    3) https://www.youtube.com/watch?v=bIWh03qTQGM
    start from 0:29

    4) https://www.youtube.com/watch?v=sppiwrRX0WM
    Here she sang 2ne1’s fire

    5) https://www.youtube.com/watch?v=8tIdiWmGgVE
    Here she starts singing at 1:00 to 1:13 and 1:43 to 1:51, where she hit a high note(?).

    6) https://www.youtube.com/watch?v=DRoDpz1XmAY&list=PLCDihMtfd64Drmc8lbQ4xkgSojtQ7XlhU&index=43
    In this video, Yerin sings from 0:23 to 0:33

    Thank you very much

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  2. I have an observation about Yuju vocal.
    From what I’ve heard, from debut to now she seems to have had healthier technique back then.
    On her cover of Stand Up for Love, why did her D5’s sound comfortable (and even supported?).
    Since she typically supports and resonates C5/C#5, how was this possible

    Around 1:30-1:41 and 3:00-3:12

    I know when Yuju strains, it’s very obvious like at 3:16-17.

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  3. I was wondering what do you think of ACE’s Donghun and KNK Inseong, especially in MIXNINE performance ‘Love In The Ice’ https://youtu.be/yy0NCbE-9XA
    2:59 is Donghun’s part I’m curious about and 3:14 is Inseong.
    I don’t know much about vocal technique and I want to ask if they hit the notes in a healthy way, or were those notes hard to hit?
    + 3:27 sounded so good but was that good with the technique (sorry too many questions :D)

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  4. Heyo! I wrote a past comment hear asking for tips on singing the g#5 in stone cold by demi. I sung it for my talent show and even though i won, i knew i was straining and felt tension in my neck. I am fustrated because i cant belt or sing high consistently. I also feel very self concious when i try to because it feels like im raising my voice. Please help ty.

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    1. I’m not an admin, but G#5 is not an easy note to support at all and it’s totally reasonable if you have throat tension + raise your larynx hitting a G#5. I would suggest practicing vocal tips #8 and improve your breath support – especially if you want to belt, you need to have enough air in diaphragm to sustain the note. And singing high all the time is not recommended anw because if you don’t support the note then straining too much can damage your vocal cord. Demi herself always sings too much outside her supported range, which is really, really bad for the vocal health.

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  5. hi, so my friend maki is really curious on her vocal technique!

    i’ve told her what i know- she doesn’t support, and what she calls her vibrato probably isn’t real vibrato because she doesn’t support. she’s also pretty young, she’s 13, and i remember reading something that it’s hard to have good vocal technique before puberty? so idk but can you give her a quick analysis

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  6. hi, i’ve been singing since i was in 3rd grade and i consider myself a pretty good singer. one reocurring problem i have, however, is straining in my upper range and i’m not sure how to fix it. can you help me? (ahmin or pandayeu or whoever)

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  7. Hi admins,
    Sorry for posting too much on this site. I just find it very helpful when I want to learn more about vocal technique in general. So I’m here to ask if I was supporting this D4:

    If I still haven’t learned proper breath support, I will try harder.
    Thanks.

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  8. Hi! I was wondering if any of you could give constructive criticism about my voice because i know I need to improve a lot but I don’t really know what to improve on or where to start and I don’t know if I should commit to starting voice lessons. I know running this blog is very time consuming, so it’s ok if you don’t reply or anything but feedback would be great (if you want ofc) the link to the audio is https://drive.google.com/file/d/1O_akerbJDtKzu24cPu3kevxdQbXrVJS8/view?usp=drivesdk the guitar is a little wack lol. thank you!

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    1. also i have a question: What is projection and how does it work? Do i have good projection? i hear a lot of people talking about it but i’m not completely sure what it is

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  9. Hi!Ahmin/Pandayeu:Did Lee Seung Gi support the F#4 at 1:24,And how about Lee Seung GI and Lee Sun hee ‘s vocal performance in this video?

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  10. This is Minnie (girl on the left in pink) and Miyeon (girl on the right in blue) from Cube’s new girl group (g)-idle. How was their vocal performance?

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  11. Just out of curiosity, what’s the main difference between the criteria for opera singing and contemporary singing? Which kpop idol do you think can pass off as an opera singer????

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    1. No one simply because Classical Opera teachers thaught specific way of larynx placement, it a whole different world From pop/contemporary music They have their own criteria probably …. So even if some korean sopranos ( like Ock for exemple ) try to sing a classical piece they will still sound different from a classical Soprano .

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    2. um for sopranos, it would be that in classic opera singing, they don’t really get taught how to use their mix. they focus a lot on head voice and don’t really mix.

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  12. hi i just wanted to know your thoughts on kim woojin, the main vocalist of stray kids. does he support well? does he strain? any comments on his technique and support?
    here are videos of him singing:

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    1. Ahmin has already said that he supports and he supports E4 for sure, but above that he gets nasal and I think he raises his larynx, also his pronunciation is not too open.

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    1. Hi! I don’t have a specific exercise, but have you looked at the kpopvocalanalysis page on YouTube? If you haven’t look there first, because they have singing exercises which are really good!

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  13. Annyeong Ahmin-ssi and Pandayeu-ssi!

    It’s been a while since I leave a comment on this great blog!
    And it’s been a while too since you guys post the last vocal analysis lol
    I am fully aware that neither of you get paid for answering tons of our comments let alone analyzing Kpop artists (yes, I actually consider idols as artists). Nobody’s forcing you to do it and neither am I. Nevertheless I’m just gonna tell you that I really long for your analysis and am really expecting new ones.
    So here I am, waiting for your new post everyday lol
    Don’t get me wrong, I know you must be really busy doing whatever you do rn and honestly that’s none of my business so just keep doing what you do, but since you guys had always been regularly posting new analysis every month, I can’t help to wonder why nothing came up since March. I hope you understand. 🙂

    Hwaiting! ^^

    (Oh and I’m okay if you decided to delete this, what matters to me is that you read this long post anyway)

    Like

  14. I want to ask, even when you are singing in the correct technique with an open throat and feeling relaxed, would you be able to produce healthy, good resonance with a laryngitis, pharyngitis or something like that has to deal with the throat, which I think might intervene with projection?

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      1. Well, she’s not singing live, and I wouldn’t really want her to because she’s dancing so hard. Anyway, she’s not projecting very well and that could be because English is not her native language, but her sound is very inward and vowels aren’t right. Also her runs are pretty sloppy in terms of flow and note separation. There really isn’t much to judge there aren’t many highnotes and she’s singing in an area that’s pretty comfortable for her.

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  15. Hey Guys, so I’ve been wondering about how many times and how long one should do vocal excercises in a day without overdoing it, some body trainers recommend to spend no more than 60 minutes at the gym, i was wondering if there is something like that for vocal training

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    1. You should warm up about 10 to 15 minutes in my opinion. I feel like that’s long enough or at Max 20 I feel anything longer than that is excessive

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  16. I want to ask, even when you are singing in the correct technique with an open throat and feeling relaxed, would you be able to produce healthy, good resonance with a laryngitis, pharyngitis or something like that has to deal with the throat, which I think might intervene with projection?

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  17. Hi! I’m not even sure if you remember me, but about a year ago I asked for advice for my singing (and sent videos) and you inspired me a lot with your response. I wanted to thank you for that. I ended up taking a medical leave to take care of my health issues, but now I’ve been accepted into a Musical Theater Conservatory in New York to train! So thank you! 😄💕 I can’t believe I’m here and I still have a lot to improve, but with a lot of practice I think I’ll get better.

    If you have time, can you watch these two videos and recommend me vocal exercises that I can do over the summer break? Currently, what I’m doing are head voice exercises on vowels like u: (Do Mi Sol Mi) i: (Do) followed by belty exercises like Not Now! (Sol Do). You don’t have to respond, but your advice would be so helpful!

    Thank you again!

    Gabi, Daddy’s Son

    Gabi, I’d Give My Life for You

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  18. Hi ahmin
    What do you think about this guy’s performance here?
    He is a popular vocal instructor in my country and often uploads video sharing vocal tips, vocal exercises, that sort of stuff. I don’t know if he’s good or not

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  19. If it’s not a bother, would you mind telling me what you think about Sungjong’s vocal technique?

    Is he very airy or am I just imagining it? What about support and resonance? I think he has a very sweet voice but I don’t know about his technique. Thanks a million Ahmin! 🙂

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  20. Hello! Is it possible for a man to have his first passagio at like C#4? What would be his voice type? The mythical baritenor?

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  21. Hi Ahmin it’s been a long time since I last asked you questions. I have a few points that I hope you will address.
    1)I feel that even after watching your videos I still can’t seem to improve and in fact some of my recordings seems to have gotten worse and I’m kinda upset about it… Here are some of my recent recordings I hope you can help me figure out the problems once again. For almost all of the recordings below, I got tired after the first chorus so it was shaky and terrible after that and also at the lower notes. Sorry if your ears bleeds after listening to it🙏🙏🙏
    Breath: https://www.smule.com/p/813645398_2286445790
    No more (2nd voice):
    https://www.smule.com/p/476061186_2284698861
    Take me higher (2nd voice):
    https://www.smule.com/p/636063469_2286465527
    Latata:
    https://www.smule.com/p/1713406345_2284747205
    Love Scenario:
    https://www.smule.com/p/1713406345_2284762527
    2) I’ve been wondering this for a while since the last time I talked to you… Can you recommend at few songs and the song genres that are suitable for my voice?? It can be English or Korean.
    3) I’m starting to work on harmonisation’s and I found out that my voice it unable to blend well… Is there anything that I can do to improve my situation???
    Thank you for taking your time to read this I greatly appreciate your help!!!
    Btw I was the one who posted a recording of Downpour last year. Here is the recording of it again just in case you can’t find it: https://www.smule.com/p/676837566_1530182916

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    1. I’m not an admin but it’s always better to improve by doing vocal exercise rather than singing some trendy songs. Some songs in your list is not vocal-oriented (Latata) and some songs are vocally challenged (Breath). Your pitch is okay, but you will improve better if you do the vocal tips #8 to build your foundation of support first.

      Liked by 1 person

  22. Hi guys! ! I was wondering why did you stopped Doing analysis,you also stopped replying to questions. Is it because of the hate you have received,or you are just busy with your lives. I hope it’s because you’re busy I can’t wait for you next post thank you guys for all the amazing effort you have been doing.

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    1. No it has nothing to do with recent events. We’re just busy y’know? We’re trying be social and live our lives. We both have responsibilities we have to take care of outside of the blog and that stuff takes priority. There’s only two of us so answering or seeing every single question is impossible. And I’m going to be honest I see certain questions and I choose not to answer because we’ve already answered the question for a different user or If I personally feel that whether or not the question is answered really matters..not ever question needs answered. However, more often than not I just forget and say “I’ll answer it later” or I think Matheus will answer it. And getting all of these questions throughout the day it can be overwhelming. Also, I’m normally on my phone so answering video questions can be very difficult and awkward and I can’t get to them until I’m on my computer. And about the analyses we have over 100 I believe that’s alot and I understand that there are new artist debuting, but having to familiarize yourself with a new artist especially if you aren’t interested in them is a pain and having to write an analysis about them can be even more painful. It’s a time stealing process. We are trying to be as active with the blog as we can and as we are willing, and I’m sorry if you feel like that is not enough, but it just is what it is. I know you’ve been following the blog for awhile and I thank you for your support and this message really because I am sure many people were wondering the same thing. Thank you ^^

      Liked by 2 people

  23. Hello
    This might be a general question

    If the bts members get proper vocal training is it possible for them to become better vocalists
    Or is there an age limit for vocal training ‘.’

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    1. Their age is not an issue, they’re young and even if they weren’t, you can always improve. Nobody is ever done improving, because we’re not perfect machines. So yes, of course they can!

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  24. How was this cover of Rough from Gfriend?
    The singer was supposed to debut with GFriend but she left Soumu before they debuted.

    I think she sounds great, is she a better vocalist than Yuju? She sounds better than Eunha, technique-wise

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    1. Sorry, but the video is unavailable here in Korea for me. But even if I could, I’d not compare anybody because I don’t see the point. As for Day6, they’re already in the list of future analyses.

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  25. My biggest problem is Learning how to stretch my vocal cords as hitting highnote. Even worse, approaching headside becomes much difficult than I thought, cuz it always goes hand kin hand with raised larynx. I feel like I just can’t make it heady without raise my larynx. Could you give me any advices?

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    1. Have you tried a slight yawn-like quality, to neutralize the movement of the larynx as you go up? There should be no reason for your larynx to raise just cause you’re singing headier.

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  26. [link removed]
    i want to know your opinion on this vid “KpopVocalAnalysis is Confused About Mixed Voice, Head Voice, & Falsetto”

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    1. I’m not sure I understand why you are asking this. Why would you want to know our opinion on this? I’d rather not be asked to ever watch of his videos, especially not ones that target us as disrespectfully as he does. Thank you.

      I will say this though. He comes from a school of thought from the technique called “CVT.” So anything that’s remotely unlike CVT is automatically deemed as 100% wrong and thus he feels the need to mock anybody who doesn’t think in the CVT way. Which is why instead of focusing on the content, he focus on the word usage to purposely trigger people. So like I said, don’t post his videos on this blog.

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  27. Do you know of a group called 3LW? I know you guys mostly do Korean singers but I just want to know. Is Adrienne Bailon the best vocalist technically or was it Naturi Naughton? Many of the latter’s fans say that she’s the best but after reading on your criteria a few years ago, something is telling me that all Naturi has only Adrienne is her timbre. What’s your opinion?

    Like

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