[Vocal Profile] Billie Eilish

Vocal Type:  Soprano
Vocal Range: D3 - A5 (2 octaves, 4 notes)
Whistle Register: Unknown
Vocal Pluses: Billie Eilish is known for her ethereal, intimate vocal style. She has the ability to create unique and captivating atmospherics with her voice, which has lead to a distinct and recognisable styling. 

[Vocal Profile] Keke Wyatt Vocal Range

Post by: Montrez Rambo

Voice Type: Spinto Soprano
Vocal Range: 3 octaves, six notes, 1 semitone F#2-F6
Whistle Register: Unknown
Tessitura: G#4-G#5
Vocal Pluses: A dark, medium weight soprano voice, capable of producing large columns of sound in the middle and upper reaches with great ease throughout the entirety of the range.

The lower register is dark in color and extensive, capable of extending down to F#2 (6:50) live. However, the lower register is best in the third octave, able to begin supporting as early as D#3.



The middle register is warm with a relatively dark color. It is very agile and large belts can start as early as G#4. As the voice enters the fifth octave, it immediately begins  to bloom. The natural dark color shines through and the natural metal of the voice begins to show. The upper middle register continues to expand, having darkness, weight and power, taking a headier approach starting as soon as E5. She has incredible stamina able to hit E5s(1:42) back to back without fatigue. Despite the increase volume, the voice can exhibit heroic levels of agility (3:36).

The upper register continues to be expansive, the upper belts are supported with piercing characteristics to G#5 (4:20). She has extended her mix upwards to Bb5 with a more head dominated approach. The voice strongest area is it's head register, being full, warm and embodied up to an impressive and supported F6 (2:35).

Vocal Negatives: The low notes, though extensive are often achieved with an extremely depressed larynx. Her upper middle register can have passagio issues around E5-F5 (2:44). She can over-sing and become off-key at times, though rare.

[Vocal Profile] Cynthia Erivo

Post by: Montrez Rambo

Vocal Type: Lyric Soprano
Vocal Range: 3 Octaves, 1 semitone C#3-D6
Whistle Register: Unknown
Tessitura: F4-F5
Vocal Pluses: Bright, feminine and coppery voice with a full and dark lower register, identifiable and weighty middle, and a booming and broad upper register.

[Vocal Profile] Britney Spears

Britney Spears

Vocal Type: Soubrette
Vocal Range: 4 octaves F#2- F#6
Vocal Pluses: Britney Spear's strength comes from her unique vocal timbre. Nasal and childlike the sound produced helps to distinguish her from others, being instantly recognisable. Capable of melisma [Gimme More], the ability to hold notes [I'm Not A Girl, Not Yet A Woman] and to jump to different octaves [Mona Lisa], she has displayed proficiency (in the studio) that suggests some skill.

[Vocal Profile] Adele

Adele

Vocal Type: Mezzo-soprano
Vocal Range: 2 octaves and 3 notes  (C3- F5)
Whistle Register: No
Vocal Strengths:  Adele is a Diva whose strength comes from her delivery and adherence to melody, rather than showy tricks or vocal gymnastics. Though able to hold notes [Skyfall], sing melisma [First Love], and jump octaves [Hometown Glory], she chooses to employ a simpler, bluesy vocal styling that keeps the understandability of her lyrics at the fore.

Adele's lower range is dark and solid. She appears to be comfortable enough here, being able to replicate notes hit in the studio when in a live setting

Adele's midrange is feminine, sweet and of medium weight. With an easy and effortless quality, it is the part of the range that is most lyrical [Lovesong]. It is also emotively versatile, with the Diva being able to inject a number of emotions into her delivery. For instance, Rumour Has It is direct and tinged with attitude; Make you Feel My Love is soft and forlorn; while Rolling in the Deep is clear and cool in its proud spite.

[Vocal Profile] Vanessa Williams

Vanessa Williams

Vocal Type: Lyric Mezzo-Soprano
Vocal Range: G#2 - Bb5, 3 Octaves 1 Note and a Semitone
Whistle Register: No
Vocal Strengths:Williams is in possession of a distinct vocal tone clean of grit and impurities, as well as solid musicality which she demonstrates with superb intonation and vocal phrasing. These intrinsic skills have served her well not only in the studio but during live performances (which include time on Broadway).

[Vocal Profile] P!nk

Pink

Vocal Type: Lyric Mezzo-Soprano
Vocal Range: A2 - A5 - E6 (3 octaves, 4 notes)
Whistle Register: No
Vocal Strengths:A powerful, dark, rich and sturdy voice that has a trademark vocal grit within its flawless placement and superb vocal control. Pink's voice can cut through the roaring instrumentation of her music with its incredible and effortless resonance [U + Ur Hand]. The voice carries a heavy, wide vibrato that is controlled and never laboured.The voice is also capable of melisma- though it is under utilized [Love Is Such A Crazy Thing].

[Vocal Profile] Hayley Williams

Hayley Williams

Vocal Type: Light-Lyric Soprano
Vocal Range: Bb2 - A5 - A6 (3 octaves 7 notes and a semitone)
Whistle Register: Yes
Vocal Strengths: A technical and emotive vocalist, Hayley Williams’ voice has an edge that has been manoeuvred and molded into a unique vocal styling. A knowledgeable singer, she has honed her skills to create (the appearance of) a fully connected range that rings with a spunk-infused attitude.

[Vocal Profile] Demi Lovato

Demi Lovato

Vocal Type: Full-Lyric Soprano
Vocal Range: C#3 - Bb5 - EB7 (4 octaves one note)
Vocal Strengths: In possession of a strong, dark, raspy and mid-weighted soprano voice, Demi Lovato is known for her powerful instrument that is piercing in tone and able enough to cut through thick instrumentation [Remember December].

Demi, unlike most "entertainers" of today, relies heavily on her voice to convey the drama and emotion of a song. It's perhaps because of this, she continues to develop and train her instrument. The gains are most noticeable during performances where it has helped to remedy previous live vocal inconsistencies. Alongside this training, Lovato has also improved her musicality, creating a unique, contemporary-oriented style of harmonising that works with her voice and melodies [Lightweight].

[Vocal Profile] Liz Fraser

Liz Fraser

Vocal Type: Soprano
Voice range: C3-D6 (3 octaves 1 note)
Whistle Register: No
Vocal Pluses: The overall character of the Diva’s instrument is famed for its light, airy and ethereal nature, with a slight operatic touch. Despite the fact that her real artistic strength comes from her tone, timbre, phrasing and the unique style of lyricism, she has also shown some technical proficiency.

Although naturally foggy, Fraser’s lower register extends down to C3, and is characterized by a surprising audibility given her voice type. The voice is most comfortable around the upper half of the lower register, resulting in her being capable of hitting strong and substantial F#3’s. [Athol-Brose]. The tone and volume can aptly be manipulated into sounding either soft [Make Tomorrow], or louder and stronger [Bluebeard].

[Vocal Profile]Ciara

Ciara

Vocal Type: Soubrette Soprano/ Light-Lyric Mezzo Soprano
Voice range Studio: (G#2-Bb5) 3 octaves and 1 note
Vocal Range Live: (C3-C#6) 3 octaves and a semi-tone
Whistle Register: No
Vocal Pluses: Ciara possesses a light/bright nimble voice, capable of intricate runs. Not your typical singer, starting out as a dancer/singer with little to no control over her instrument, she has grown into a singer/dancer with improved breath control, dynamics, tone and power. The Washington Post has said of her voice that she has a "reedy, agile voice, capable of conveying the only 3 emotions (sexy, sassy, and sad) an R&B singer needs".

[Vocal Profile] Anouk

Anouk

Vocal Type: Lyric Mezzo-Soprano
Vocal Range:G#2-A5 3 octaves and a semi-tone
Whistle Register: No
Tessitura: D4-D5
Vocal Pluses: A dark, warm and dense voice comfortable singing at small, medium to medium-large sizes. The voice is well connected in all of the range.

[Vocal Profile] Amerie

Amerie

Vocal Type:Light Lyric Soprano
Vocal Range:3 octaves C#3-C#6
Vocal Pluses: Amerie possesses not only a highly emotive voice, but demonstrates a versatility in tone, timbre and colour not often displayed by the average RnB singer.

The lower range of the voice is where Amerie struggles, displaying a tone which can not only sound unhealthy, flat and unsupported, but can also sometimes be abrasive to the ear- depending on the context of the material she is singing. For example, All I Have's softer and generally more pleasing delivery contrasts greatly to Dangerous, where the more serrated edge to the voice can be less so.

Within the mid-range the tone lifts and the timbre intensifies into a far more pleasing sound. This area is generally well supported and the tone is exceptionally cleaner right up to a D5- evident in such songs as That’s What U R, where a sweeter, more sensual tone is displayed. The chest voice is incredibly versatile, and has evolved from her debut album- where it was significantly cleaner- to now, where it has a more prominent rasp, giving the voice a distinctive sound.

[Vocal Profile] Janelle Monae

Vocal Type: Light-lyric soprano
Vocal Range: 3 Octaves, 7 Notes And 1 Semitone C#3-C7
Whistle Register: Yes
Vocal Pluses: Elastic, bright and feminine voice that is full of frenetic energy- particularly when the Diva belts [Tightrope]. Her anounication is clear and distinct throughout the range and this, in combination with not being one for floral or lengthy melisma, mean her lyrics remain consistently discernible. Having a background in theater also bolsters the Divas ability to effectively emote.

Midrange is of mid-weight, darkish and carries the character of the rest of her range. It connects to the lower-range, which is supported and without the huskiness/fogginess that some have when pushing their voices to their lower extremes [ Mr President]. The upper part of the mid-range is warm and rounded with an undeniable sweetness to it [Locked Inside].

Excellent understanding of her voice means she can manipulate her belting range exceptionally. For the most part her belt is head-voice dominant, thus it is smooth and without texture. She can however alter the balance of her mix, giving her a palette of varied tones to play with. An extreme example of this control is showcased in Come Alive (The War of the Roses) where she imitates an electric guitar.

The Diva moves effortlessly into her head-voice, where she shows great control. She is capable of singing with an operatic tone, which is full and measured [ Cybertronic Purgatory ] but can make her upper-range more contemporary, being light and agile [ Harmonies in Many Moons].


Vocal Negatives: Her vocal styling can be quite wild and eccentric, and not to the taste of everyone

[Vocal Profile] Chaka Khan

 Chaka Khan

Vocal Type: Spinto Mezzo-Soprano
Vocal Range: F2-B5 (3 octaves and a diminished fifth) (B2-E6)
Whistle Register: No
Vocal Pluses: Chaka is a unique singer, with her own style of inflection and timbre. Her voice has some similarities to other singers of her generation, but always retains a sound distinctly her own. Though her timbre is bright, she has an unusual amount of power behind her notes.

The low range is quite impressive, spanning down into the second octave. Her lows can either be smoky and whispery or more solid and defined, and though never achieving the same volume as her high range, her low notes retain her tone and style The lower range stays mostly homogeneous to the rest of the range.

Her middle range, starting around G3, has many timbres and textures that it can assume, and transitions absolutely seamlessly from the lower middle range to the top of her voice. The middle range has a peculiar ‘forward’ sound that gives the impression of the tone used in the belted range, aiding the sound of seamless transition.

The belted range is technically incredible, and the defining aspect of her voice. Going all the way up to a thrilling B5, the belted notes are brassy, bright, and full in sound – they are always mixed perfectly, and flow easily, though time has stripped Chaka of the top belts. Thanks to her mixing, she goes to the absolute top of her viable range, but belts far beyond ‘typical’ highs for any voice type.

Her head voice (whenever it is heard) is light, bright, and somewhat breathy.

Vocal Negatives: Her head voice on its own is rarely heard and sounds quite weak compared to her powerful, brassy belts. Because of her unique singing style, it may take time to adapt to her sound on the whole. She has a tendency to waver in pitch on the low notes, and the low range on the whole seems a little variable as to whether it will be solid or weak on a given day.

Credit goes to Marty M for this profile!

[Vocal Profile] Lee Ya Hi

Lee Ya Hi

Vocal Type: Lyric Mezzo-Soprano
Vocal Range:C3-E5, 2 octaves, 2 notes (F#2-F#5 outlier range which includes exclamations).

Tessitura: G3-D5 (1 octave, 3 notes)

Whistle Register: No

Vocal Pluses: An incredibly mature voice for a 16 year old girl-though it is clearly evident that her voice is still developing. This voice does not rely on its  range to impress, but leans more heavily on its emotive quality to do so; managing to convey the message of a song regardless of the language barrier. As well as being an incredibly emotive singer, she also possesses an amazing tone. Overall the voice, is thick, smoky with a raspy lower end, and a naturally coarse upper chest. Her falsetto is connected well to her chest register too.

The lower register (C3-F#3) is easily accessed with plenty of weight. It sounds mature and well developed- as heard in the song Because. She can also change the tone to a more mechanical one, if so needed- as heard in Am I Strange whilst maintaining a D3. Her tone remains rather mature at these depths [Hear: D#3 in Fool For Love], but she can add a slight warmth to the natural nasal quality to produce a melancholy tone [Hear: E3 of Because]. Overall, her lower register is versatile and brilliantly connected.

Her mid voice (G3-F#4) has even more tonal diversity; all stemming from her gorgeous nasal tone. Her mid voice also shows a great ability for ornamentation, such as that found in the intro of It's Over - where she demonstrates a gorgeous scat. However, like the lower-range, she can also add warmth to this middle register, creating an entirely different emotional vibe [Hear: in the A#3 of One Sided Love]. When she adds warmth, the weight lessens but it allows the voice to become more nimble,  allowing for some fairly ornate flourishes [Hear:The F4 of Am I Strange]. She also can carry that nasal tone up to F#4 before her falsetto breaks, as heard in the F#4 of 1.2.3.4.

Her belting register(E4-E5) is utilized in a unique way. As she ascend into it, her voice loses weight and thickness but keeps the signature nasal tone. She can retain a considerable amount of weight up to a G4- as heard in Rose and Fool For Love, where that same G4 belt contains a vocal run (at the end) that has become somewhat Lee Hi's signature style- but as she ascends up to around a B4, her tone changes, becoming noticeably brighter. It's a brightness which she puts to good use helping to convey the message of her music [Hear: The D5 melisma in Dream]. (Other notable belts include that found in 1.2.3.4 -which ascends upwards to an E5- and in It's Over - where a rapid rising melisma takes her to D#5.)

Lee Ya Hi relies heavily on Falsetto, rather than true head voice (A#4-E5). The sound is soft, sweet, and delicate. It is the only tone she has that ditches the nasal quality. Despite that, it remains brilliantly connected as shown in the beginning of It's Over , and 1.2.3.4

Vocal Negatives: Some may find Lee Ya Hi voice to be squeaky as she ascends the fifth octave in her chest voice. Also, her falsetto tends to sound frail (which personally bothers me).

[Note about the Vocal Fach: The only way it was possible to tell that she was a mezzo-soprano was by gauging where her falsetto starts. Her voice is still developing which is why there is such a considerable difference in vocal weight of her lower register and her middle chest.]

[Vocal Profile/ Range] Justin Timberlake

Justin Timberlake

Vocal Type: Lyric Tenor
Vocal Range: 3 Octaves 2 notes and a semitone(F#2-B5)
Whistle Register: No
Vocal Pluses:Justin Timberlake possesses a light, youthful and warm voice that is agile and capable of executing vocal runs [Hear: Pop, Gone]. Thanks in part to its lightness, as well as the varied textures that are found throughout its range, the voice lends exceptionally well to harmonising both with itself and with others. Not just restricted to singing, he also is able to manipulate the voice to recreate percussive instruments, demonstrating this "beatboxing" on various tracks [Hear: Pop, Cry Me A River ].

Timberlake's lower range extends into the second octave and he demonstrates surprising comfort while navigating it. Here the notes are of medium weight, but can be hit with a smooth, soft texture [Harmonies: LoveStoned], or with an almost vocal fry, guttural like ring to them [Harmonies:If I] .

In the third octave the voice begins to lose weight rapidly, and brighten significantly. Its lower half is smoky and rounded, but as it rises it takes on the thin, nasal, almost metallic sound that is characteristic of the voice as a whole.[Hear: (Another Song) All Over Again]

In the belting range the voice becomes stringy, lighter and even thinner. Though not particularly powerful, the voice has a piercing quality that allows for it to remain at the forefront of the track, stopping it from becoming lost or overpowered. In live settings, Timberlake's belting voice can gain a raspy edge, but whether this is due to the voice not being in peak condition at the time or it simply being an artistic choice, is unknown.

Timberlake is perhaps best known for his abilities to sing in falsetto; which starts at the beginning of the fifth octave [C5]. His comfort in this part of the range means he can sing for long periods within it without fatigue, execute melisma here and hold notes without issue. Unlike other male falsettos, which are often airy and light, Timberlake’s has a solid form that shares many characteristics- such as the brassy tone- with the belting range. He is also able to play with the dynamics of falsetto, which adds to the versatility of how he can apply it. [Cry Me A River]

Vocal Negatives: Nasal tone and falsetto heavy singing isn't to everyone's liking. Also there is a disconnect between his modal voice and falsetto which limits how he can navigate these two parts of his voice.

[Vocal Range/Profile] Elle Varner

Elle Varner

Vocal Type: Mezzo Soprano
Vocal Range: 2 Octaves 6 notes (C3-B5)
Whistle Register: No
Vocal Pluses: Elle Varner's vocal styling is where much of the voice's uniqueness comes from. Instead of being ornate and overly indulgent in melisma, this diva uses her voice in an organic, unfussy way; somewhere between talking and singing--though firmly weighted more towards the latter than the former. In doing so, it allows Elle's singing voice to take on the nuances and traits (attitude/swag) of her speaking voice; ultimately giving it a unique and characterful quality [Hear:Oh What A Night].

Her lower range is strong, weighty, thick and warm. The midrange sees a hazy, edge to the voice develop, which lends itself to harmonising. It also gives the voice a distinctive colouring [Here: Stop The Clock].

The voice quickly drops weight and thickness as it hits the top of the fourth octave; but retain its rough, coarser texture. Up until an F5 the voice sounds incredibly healthy, with Elle displaying surprising ease and freeness in this part of the range. Unlike other Divas, who also mix to reach the fifth octave, Elle's voice doesn't suffer a blanching of its character and this is mainly due to her sensitive mix.

Her voice transitions easily into its head-voice/ falsetto, meaning it's possible for Elle to jump in and out of it without issue [Hear: Sound Proof Room]. Whereas the head-voice is full and resonate, she can achieve a different effect by opting to use her falsetto instead, which is lighter but shares the edgy quality of the lower range.

Vocal Negatives: Not the most agile or dexterous of voices.

[Vocal Profile] Delta Goodrem

Delta Goodrem

Vocal Type: Lyric Soprano
Vocal Range: 3 Octaves notes (D3-D6)
Whistle Register: No
Vocal Pluses: Delta Goodrem possesses a naturally agile and fulsome soprano voice. Marked by a direct yet rounded and clean tone, the entirety of the range is known to be void of any harshness or crackling in its tone.

The lower end of the range is husky and velvety, whilst still being reasonably audible- a rare feat for most sopranos. This part of the voice is also marked by a darkness in timbre not evident in any other part of the range

The middle section is surprisingly confident and rich, which adds a warmth to the tone, while her distinct intonation marks it as instantly identifiable. Her fourth octave register retains a velvety texture and is well connected to her lower range, ensuring a fluidity right from the bottom to the top.

Goodrem, however, comes into her own with her upper belts and head-voice. This part of the range adds a soft and full penetrating timbre, that is of a healthier quality than that produced in the lower extremes of the voice. Her belts, taken from C5 right up to G5, are robust, clean and delivered by an even and striking vibrato. Of her head-voice, accessed from approx A 5/ B5, it would be classified as warm, illuminating and potent in quality.

Overall, Delta has a strong and characterful voice which traverses its higher regions with what appears to be great ease, all whilst producing a pleasurable and healthy sound throughout the registers (bar the extreme lows). The result is a voice that has both a high standard of musicality and natural raw ability.

Vocal Negatives: Some have described the tone in Delta Goodrem's upper registers to be slightly whiny and immature at times, often as if she is crying in a high tone. Also as the voice is clean of grit and lacking in overt power it has been claimed she is somewhat “boring” to listen to vocally.

[Vocal profile] Chris Colfer AKA Kurt From Glee

Chris Colfer

Vocal Type: Lyric Countertenor
Vocal Range:3.1 octaves A2-Bb5
Whistle Register: No
Vocal Pluses: An unusually high voice for a man, Colfer has an outstanding capability for production of notes in a way that is both light and powerful, giving him a very identifiable voice that can be sweet and lyric, as well as powerful and piercing.

The lower register (below D3) is hardly ever used, but is actually quite powerful for his voice type [Give Up the Funk]. Though it sounds as though the larynx may have been lowered slightly to enhance the sound, the technique used to reach his absolute lows is otherwise perfect.

The chest register, when unconnected to the head voice, can be powerful and capable, having an extremely punchy, belty sound [Rose's Turn]. Otherwise, when the sound is more often than not mixed with the head voice, the sound can either be light and sweet [Defying Gravity], or can have an extremely focused, edgy sound [Le Jazz Hot].

The head voice is the defining feature of Colfer's voice, and the clearest aspect of the individual sound he has. The lower head voice has a covered and cloudy sound that eventually gives way at around D5 to an immensely clear and piercing high head voice, up to Bb5.

Overall, all of the registers of his voice overlap consistently, so while the tone may not be identical from bottom to top, it is all produced in a healthy manner, and is extremely well-mixed with a head-dominant sound. The registers are easily connected, and can be demonstrated best in the final vocal slide from F#3 to F#5 in [Le Jazz Hot].

Vocal Negatives:The voice's sound can get a little too piercing at times. Also, sometimes, the mixing is done unevenly, with a head voice that is almost too flute-like to be used viably, belying problems with using a fuller, rounder support. This was more so a problem in earlier seasons of 'Glee', and has all but vanished starting mid-season 2.