Vocal Range

F#2 ~ A5 (3 octaves, 1 note and 1 semitone)

Supported Range

C3 ~ Bb4/B4

Voice Type

Light-Lyric Tenor

Strengths/Achievements Strongest vocalist in B1A4 Arguably one of the strongest male idol vocalists Resonance is very present and consistent in his voice Able to support his voice even as high as B4 Healthy vibrato produced consistently Intonation is quite impeccable Able to support his voice even as low as B2 at times Improvement from debut till present Able to keep a relaxed and connected falsetto even as high as D5/Eb5/E5 Versatile vocalists, able to sing many different genres of music and modify his voice accordingly Although not having a very agile voice, melismas can be done with very good precision and accuracy Does not try to sing in ways that he can’t or outside his supported range, smart vocalist Weaknesses Falsetto is under explored and his least developed register Lower range is often airy and quiet, often stylistically Upper mix around B4 loses consistency and becomes more shouted Mixed voice can be overly chesty Nasality can be present in his voice Jaw/lip tension can be present in his singing Musicianship is almost inexistent in his singing Registers Lower register: One of the better lower ranges amongst K-pop tenors, Sandeul is capable of supporting his voice as low as B2 at times, although he’s only consistently able to show support down to D3, without stylistic airiness getting in the way. Mixed register: One of the most consistent mixed ranges amongst K-pop idol tenors, Sandeul not only has improved this range, but also shows a consistent ability to bring resonance forward into his voice, keep tonal accuracy, good tone production and stamina. Mixed range can often be overly chesty, that being its only main flaw. Upper register: Though not a bad register, his falsetto is his least developed register. He doesn’t often try to sing in this register, but when he does, there’s a clear gap of power and resonance between his falsetto and the rest of his voice. Nonetheless, he’s able to sing in this register with control and a relaxed throat up until E5. Agility

As a light-lyric, his voice has the natural ease with the upper register and the ability to stay in this register and produce all sorts of different ornamentations. Having that said, Sandeul is not a R&B vocalist, nor does he rely on vocal agility to deliver his musical choices. If the time is brought to him where he needs to show competence in note separation, melismas and vocal agility, he’s capable of producing slow to medium tempo vocal runs, with very good pitch accuracy and note separation, such as in his OST “아파서“. Not only does he possess the control and accuracy of pitch, but also he’s able to stay in a very high range and still control his pitch and keep up the stamina to maintain the of a song, in occasions such as “왜 둘만이 있으면 (Just The Two Of Us)“, “빗속의 여인” and “This Time Is Over“.

Overall analysis

B1A4’s main vocalist, Sandeul, is one K-pop’s strongest male vocalists and tenors. Amongst all the tenors and idols in the current K-pop industry, it’s hard to actually see male vocalists with an even column of sound throughout all of their register, if not at least two, who’s consistent, professional and is also musically and vocally versatile. His voice naturally has a strong and forward sound to it and due to his technique, he’s able to effortlessly sing in most of the tenor range, with which he’s able to show the best of a tenor, where his voice naturally lies. His tone is very youthful and bright, but with a strong piercing quality to it.

His lower range possesses a very forward quality to it, it’s often very masculine sounding, bringing out the tone of his voice even in his lowest notes. He is able to keep a relaxed, stable larynx, a mask and chest placed lower range and a very stable tone production consistently down to D3, as heard in “사랑 Two“, “사랑 그놈“, “안 오실까 봐“. Many times, Sandeul opts for a more airy quality sound when he descends below D3, which may mislead the listener into thinking that he’s uncomfortable in a range below D3, as heard in “코스무스 피어있는 길” and “잊혀진 계절” but it is often through such performances that he also shows the ability to disconnect his vocal cords and create breathy, n