How Nmixx Has Changed Me As A Vocalist, My Take On Yunjin's Vocals, Fans and Vocal Damage...

[@juliasjingles]

AAAH i love seeing kpop fans (and especially a nmixx, lily, and taylor fan, like hello are we the same person?) who also love to sing, because music and singing is my favourite hobby so i really do appreciate when i hear good vocals

[@run-for-roses05]

@@juliasjingles omg twinning fr fr

[@ssockrates]

As a classical vocalist and contemporary songwriter, I relate a lot to Yunjin in the way she seems to be, as you say, fighting her own voice. It really irks me to see people call her a bad vocalist when I know that's not true. Sometimes it feels like K-pop fans are physically incapable of doing research before gabbing about a topic they don't understand online (or just keeping their mouth shut)

[@run-for-roses05]

In my personal experience and I've already said this in the video that I was told that if I could sing classically that I could sing in any genre. But when I would try to sing in different genres I would struggle because there is different techniques to different styles of singing. Yunjin is a beautiful classical singer. She needs to readjust her voice and need some training to improve her impressive skills. I've always had this opinion that she was fighting her voice and I'm glad I've met another classical vocalist and songwriter who feels the same. I felt like I was the only one who felt this way.

[@leandrogalindo8288]

@@run-for-roses05 i recieved and had seen clasical training so i think i know enogh to understand inside my body the mentallity of the most projection you can get out of voice, i believe many teachers end up confusing you with the support and the terms and that in the end most of the succesful vocalist found the right ways to do thing through imitation and trial and error, and teachers are useful to tell you if you are doing it right or not, and even give you excersices to find the right coordinations but, i believe to this day many teachers on singing keep on confusing their students, so, about classical technique helping for other genres is partly true, you develop pitch, a solid and control column of air, and are able to control the muscles, tissues ad other inner structures for vibrato, vocal agility and projection. I am a very curious person and I dont have experience of profesional singing so i have been free to just keep moving my voice and discovering it, so i would say classical singing is just a very limiting setting for singing that catered to the needs of a time where there were no microphones, so, where is the problem, not really knowing how to actually move inside to get the result you want, instead operating in instinct, like a hit or miss mindset, and if you were classically trained and just operate on instinct to activate your technique, you are going to have a hard time selecting the things that are actually aplicable to any other technique you need, and if that is your approach to singing, you are probably learning that other technique just by instinct and at the moment of a performance, you can easily gt confused inside trying to get the sound you want, if you add to that nerviousness and just all the noise in such setting, any slip can get you to lose the way and then you need to be fighting inside yourself to gain it back, while all eyes are on you in the middle of a performance, i'm not excusing her or the other members, i'm a guy from a third world cointry that has only had the internet to be able to improve and get more information on those topics, these girls have the resources and the time and the resposability, it is their choice not doing it, and they should just retire if they are not able to measure up, last thing, obviously, while singing all of use have to use our instinct and sensibility and muscle memory to be able to actually control what is going on inside, but there is a diference if you go piece by piece and get actual undertanding of all the posible movements and sensations and what they mean, that trying to build a whole tecnique on the basis of instinct trained based on the feedback of a teacher, when this feedback is related to the tecnique as a whole, rather than a solid baseline on all the little pieces that allow you to build many techniques to mold the sound of the voice to culturally standarized musical styles.