[Vocal Profile] Haley Reinhart

Haley Reinhart

Vocal Type: Light Lyric Soprano
Vocal Range: D3-E6 (3 octaves, 1 note)
Tessitura: D4-E5 (1 octave, 1 note)
Whistle Register: No

Vocal Pluses: An emotive singer, this Diva demonstrates great control over her instrument in its upper reaches. Her voice is characterized by its ability to growl emotively, and go from a sweet whisper, to a belt at forte. Her voice also has a nice natural rasp that gives the voice a false sense of thickness.

Haley Reinhart's lower register, is thin and lacks resonance, though the tone is nasal, reedy, and sweet. She loses resonance as she dips below B3. Despite this fact, she wields it with nice artistry; using the thinness of this register to give the voice a great sense of dynamics, being able to go from a low whisper-like note to an elastic belt easily [Hear: Oh My]. However, her technique in this region is questionable, with notes often being reached by forcing the larynx down.

Her mid voice, spanning C4-C5, is still light in both weight and volume which gives her voice an overly delicate and youthful sound [Hear: Wasting Tears]. The voice breaks at around C5 where her falsetto gives way. Her tone in this area is rather guttural and edgy at times [Hear:Wasting Tears] but can be softer, and cooler [Hear: Hit the Ground Running ]. This area is quite easily accessed, though at times she can sound monotone.

Her belting register is her strongest suit, spanning from B4-G#5. She uses this part, combined with her ability to mix and her extensive volume control, to give the voice added dynamic [as heard in the D5 of Oh My and the C#5 of the chorus of Undone]. She has quite a durable voice, being able to "growl" for extensive periods with little if any resulting vocal deterioration. She also has extensive stamina in this region, being able to sing difficult lyrical passages [as heard in her many American Idol covers and her song Keep Coming Back]. Her tone in this region is very reedy, though its texture is very raspy.

Haley has a well developed mix and relies heavily on falsetto, rather than true head voice. It extends upwards to Soprano E. Her tone here is a dead ringer for a piccolo, and is in contrast to the rest of her voice. It is warm and has a light weight fragility to it. She can switch to head tones within the space of a breath and exhibits great dexterity here. Her mix is stellar and uses great technique to achieve this sound. (Just about every single song she has created shows off her head tones.)

Vocal Negatives: Thin light voice, is a very acquired taste and has trouble being heard over instrumentation in a live setting. Her technique in her belting register needs polish, as there is questionable technique and a lack of mixing involved when singing. Her growling, similarly, employs questionable technique. A listener may also take issue with the nasal and bight tone present in her full voice,  her rasp, and her weak lower register.

Thanks to Montrez Rambo 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] Jazmine Sullivan

Jazmine Sullivan

Vocal Type: Lyric-Mezzo Soprano
Vocal Range: 3 Octaves 2 notes and a semitone (A2-C#6)
Whistle Register: No
Vocal Pluses: A dark warm, rich, delicate and characterful voice that is best used at small to medium volumes. The voice has solid agility in all registers and is well connected between A2-G#5.
Tessitura: Eb4-Eb5

The lower register is where the voice shines most, being able to project below C3. The lower register is dark and dense -some may call it androgynous- and can carry rich support down to Bb2, live and A2 in the studio.

The lower middle register carries the same darkness, density and richness of the lower register, as can be heard on song such as If you Dare, Veins and Fear. It can be lightened significantly, hear Brand New. As we near the first passagio (Above E4), the voice brightens significantly, losing much of its density but maintaining its richness and, to an extent, some of the darkness. The lower middle also can be projected into a solid mid-belt that begins to bloom in size at E4/F4. It is evident in Stupid Girls during the second verse. The lower middle begins to pick up volume around G4 as demoed in the belts of #Hoodlove, the sustained A#4 belts in Stupid Girls, and the B4s in If You Dare. The lower middle also can be wielded at smaller volumes, in a "half-voice" as heard in Masterpiece, and Brand New.

The upper middle is bright, rich in color but fragile. The voice can carry a medium volume with effort but access the upper middle via the mask. Lately, her belts have been placed slightly higher and accessed by a more relaxed form of mixing to achieve more resonance. The sound is solid up to D5 before the voice becomes stringy around the middle passagio. The voice loses size above E5 and the belts from D#5 and above become slightly coarse. As in her lower middle, she has shown great ease singing in "Half Voice" in the upper middle as can be heard in the E5s in Brand New, the D#5s and E5 in Let It Burn.

The upper register is seldom accessed but Jazmine has reached C#6 in the studio, sustained a A#5 in the studio and sung up to G#5 live. The highest belted note was a G#5 in the song Masterpiece was was accessed by a head dominated mix. The upper register is coordinated well but does not retain the quality of the lower middle or upper middle. The true head voice of Jazmine is warm, thick and retains the delicate nature of the voice as a whole.

Vocal Negatives:At times the phrasing in the upper middle can be muddy [#Hoodlove]. The voice can sound fragile when pushed around the middle passagio (E5s, F#5s and G#5 in Masterpiece, The F5 in #Hoodlove.)

[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] Kimbra Johnson

Kimbra Johnson

Vocal Type: Lyric Soprano
Vocal Range: 4 Octaves 1 note and a semi-tone (C#3-D#7)
Whistle Register:Yes
Vocal Pluses: Kimbra's voice isn't like that of a powerhouse Diva, but instead its strength lies in its unique timbre and the the quirky jazz-inspired way she wields it.

Her low notes are not well supported (though an artistic decision) but are still characterful and identifiable [as demonstrated by the A#2 in Somebody Please]. She's at her most comfortable between the notes F3-C5; where the voice has a surprising warmth, tinges of smokiness, and a delicate quality [Hear: Limbo].

Overall her voice is head-dominate, which is perhaps why the weight of the voice is so light. In this upper-register, Kimbra exhibits much  freedom, being able to navigate it easily and effortlessly [Settle Down] and able to jump from a belt to a head-voice note with impressive dexterity.

Her belting range shares this dexterity-she can jump from a F3-F#5 in elastic and energetic bouts [Hear: Call Me]. However, as the voice climbs past A4 it drops weight quickly, becoming lighter but brighter and steelier in tone. To give the upper belts more substance Kimbra often layers and incorporates them within harmonies, or uses studio effects to give the sound an "artificially cavernous" one.

Vocal Negatives: Kimbra's voice doesn't carry much weight, which is surprisingly light considering how dark her tessitura is (F3-D5). Her chest voice also has a tendency to sound "throaty", which, in combination with her unusual vibrato and quirky styling, may not be to everyone's taste.

[Vocal Profile] Anita Baker

Anita Baker

Vocal Type:Contralto
Vocal Range:3 Octaves C#3-C#6
Whistle Register:No
Vocal Pluses:  A unique voice that has an identifiable character that runs through the range and the registers. The voice, as a whole, is smooth, warm, and mature and Anita Baker wields it with exceptional skill: being incredibly natural with her delivery, while also effortlessly technical. Though capable of great vocal dexterity  [ Hear the ending of Body And Soul ], it's not something that she is prone to showing off, instead relying on her emotive voice, her mastery over dynamics, and the melody of her material to impress.

Despite hitting, on record, a low that isn't exceptionally so- when compared to other Divas- Anita Baker's voice has all the qualities of a contralto. The voice is weighty, dark, and at ease in the lower extremes- something others who can hit lower can't always claim. It also has a slight rasp to it that rounds out the tone, creating it's trademark smoothness.

As well as it being easy for Anita Baker to pitch low notes, she is also just as capable in the top of her range: being able to belt an incredible fifth octave Bb[Hear:No More Tears]. Of course, within the fifth octave the voice begins to lose some of its weight- increasingly so from about an E5- but even then, though the tone becomes thinner, as it is mixed, it retains many of its identifiable qualities.

As mentioned, Anita Baker's voice has a consistent sound throughout, but what is most surprising about this, is that it extends right up into the head voice. So whereas many Divas produce a head voice tone that sounds uncharacteristic of their lower range, Anita Baker produces rich, buttery notes that are just as identifiable, and relatable to her modal range. Effectively, this gives the illusion of no break or disconnect in the voice, adding to the overall effortless quality of it [Hear: Sweet Love 3.18 onwards].

Vocal Negatives: The voice does have a flattened, nasal quality about it that some may find not to their taste.

[Vocal Profile] Naya Rivera (AKA Santana Lopez from Glee)

Vocal Type: Mezzo-soprano
Vocal Range: 2.6 Octaves and a semitone (C3-Bb5)
Whistle Register:No
Vocal Pluses: Naya Rivera has great control of her instrument. This allows her to sing complex melisma; hold notes for extended periods of time without wavering in pitch; and helps her to excellently control the dynamic and timbre of her voice [Hear Songbird]

Strong lower-range that extends to the bottom of the third octave. The notes produced here are full, rounded and of medium weight, but are accessed effortlessly meaning they don't have the foggy quality some Divas exhibit when hitting lower notes [hear Boy Is Mine]. 

Her belting range as a whole has a light, bright, and youthful colouring to it with a slight rasp at times. Both the notes at the top of the fourth octave and those well into the fifth octave sound to be achieved via great technique, thus producing notes that have an easy quality to them, with a consistent tone and timbre.

Naya Rivera primarily uses falsetto to reach the higher notes. This means notes produced have an airy sound, with a warm and light quality to them. Using her falsetto to hit notes makes it easier for her to flip between registers, but it is possible for her to create notes with her head voice- like the exclamations in Smooth Criminal- which are weightier and have a stronger dynamic.

Vocal Negatives: The voice can sometimes have a slight nasal quality to it.

[Vocal Profile] Marina Diamandis (AKA Marina and the Diamonds )

Marina  Diamandis

Vocal Type: Mezzo Soprano
Vocal Range: 3 Octaves 3 Notes (A2-D6)
Whistle Register: No
Vocal Pluses: The voice is brilliantly connected, meaning it's possible for Marina  Diamandis to switch effortlessly, and quickly, between parts of the voice. She also has excellent control so she is a singer that can recreate her studio renditions perfectly in a live setting.

Heavy, weighty, dark midrange that has an almost androgynous quality to it [Are You Satisfied]. It's a styling that the voice isn't limited to, meaning it is possible for Marina to lighten the sound considerably; lending to exceptionally unique harmonies being created by layering the two timbres [intro of Hermit The Frog].

The belting voice, much like the midrange, is full of attitude and individuality. It's more than often used in the lower extremes (the fourth octave) and carries through the weight and rounded quality of the bottom half of the range. As the voice hits the fifth octave Marina creates a tone that is very much head-voice dominant. This creates a sweeter, warmer sound, and one which is lighter by comparison. It's also possible for her to pull these characteristics down into the top half of the fourth octave. [Intro, Primadonna]. 

The head voice possesses the duality of the midrange so Marina can either produce a tone and timbre that is thick and controlled, or one that is akin to a falsetto, being breathy warm and light.

Vocal Negatives:Though her individual style is a plus in this world of copycat singers, it would be nice to hear Marina embellish that style occasionally with some more "Diva-ish" vocal skills- such as melisma, belted and sustained notes. We like our Divas to show off once in a while.

[Vocal Profile] Tamar Braxton

Vocal Type:Coloratura Soprano
Vocal Range:Four Octaves and One Note (C3-D7)
Whistle Register: Yes
Vocal Pluses: Tamar Braxton finds her strength in her head voice and higher chest register. Her lower range is not as strong but is still well supported. Due to Tamar's expert mixing of her head and chest voice, her belting range extends all the way to a Bb5; having a very bright, light quality to it.

Her head voice is smooth and airy, and is well connected to the rest of the voice.
She is also able of singing notes in the whistle register, producing a tone that is not piercing but instead very smooth.

[Vocal Profile] Vanessa Amorosi

 Vanessa Amorosi

Vocal Type: Falcon Soprano
Whistle Register: Yes
Vocal Range: F2-F6 (4 Octaves)
Longest Note:20 seconds
Vocal Pluses:A well structured voice; strong from the lowest depths of the voice to the soprano heights. Demonstrates agility across all registers of the voice allowing for the production of complex melisma, and fast transitions throughout the voice. Often displaying this through the ability to replicate guitar solos (See " I Wanna Be Your Everything, Jumpin' Jack Flash, My Problem Is You"). Able to apply a raspy texture throughout the belting range with a neutral larynx and in a healthy manner. Incredible breath control allows for long phrases, sustained notes and periods of uninterrupted melisma. 

The lower register carries a full, dark and heavy sound and achieved with a large quantity of freedom and ease [see Off On My Kiss]. The mid-range is capable of producing a large column of sound and sustain notes for substantial amounts of time [see Heroes Live Forever, Suns Up].

Vocal Profile: Gwen Stefani

Gwen Stefani

Vocal Type: Mezzo-Soprano
Vocal Range:3 Octaves D3-D6
Whistle Register:No
Vocal Pluses: Instantly recognizable voice with a poppy and colourful tone that is well supported from the bottom to Middle of the voice and this is where it finds its most comfort. Gwen’s voice has managed to stay , relatively, in the same condition throughout her career (an aspect which is rare among most of todays singers).

The lower register, albeit lacking resonance, is very rounded, showing much control. The voice can easily mix into the upper belting register but Gwen stylistically often sings with a punky- throatier edge. The voice finds its ring within the middle of the belting register. The head register is light and agile, being able to instantly and seamlessly transition into it after a belted note.

Known for her unique trademark vibrato, Gwen’s voice is easily capable of transitioning from a solid belt to a Yodeling vocal wobble.

Vocal Negatives:Technique can be questionable at times. Her chest dominant belts can often sound heavy and strained due to the edgier sound she chooses. When performing live the key of her songs are often lowered so she can keep up with the band. Also, her head register is weak as it is often used merely for expression or exclamations; yet, can become much more resonant if properly executed. Also her Vibrato may not be to everyone's taste.

Thanks to Brian for creating the profile, and Serendipity for directing me to the video!

Vocal Profile: Melody Thornton

Melody Thornton

Vocal Type:Soprano
Vocal Range:3 Octaves and a semitone D3-Eb6
Whistle Register:No
Vocal Pluses: The quality of Thornton's voice could easily be described as dynamic, robust and highly flexible. She has the ability to easily manipulate her instrument to fit the material in which she is singing, such as soft and gentle (most of PCD records, doing backing vocals) or more forceful and direct (Bulletproof, Hit the Ground Running and Sweet Vendetta to name but a few from P.O.Y.B.L)

Regarding the texture and quality of the voice one could say the lower extremities sound well supported but tired, slightly flat. The mid range and belting range, in particular, sound crystal clear, contain a incisive tone and feel more comfortable for Thornton to access than that of the lower. The voice from the bottom to the top sounds well connected, illustrated by Thornton's adept use of melisma throughout the entire range.

The head voice however is where she really shines. The tone is such to be powerful, expertly placed and far healthier sounding than the rest of the voice. She is able to access this part of the range from approx G5 right up to Eb6, retaining a full strong tone as well as a fantastic flexibility and fluidity that makes traversing this area easy and free.

Overall Melody is a technical singer who possesses a voice that is for the most part well placed, distinctive in its sound and very energetic.

Vocal Negatives:Criticisms have often been levelled at her for her over indulgence in melisma, which often detracts from the melody and nature of her material. This has caused some to accuse the singer of not always being in full control of her instrument. The tone of her voice can also be seen as overbearing, particularly in high belts where the voice takes on a stronger more slicing nature.

Thanks to Stuey for creating this profile! 

Vocal Profile: Debelah Morgan

Debelah Morgan

Vocal Type:Coloratura Soprano
Vocal Range: 3 Octaves 5 notes and a semitone (C3-Bb6)
Whistle Register:Yes
Vocal Pluses: Brilliant technique that demonstrates complete vocal freedom, being able to execute various vocal acrobatics along the entire range. Her vocal dexterity and stamina means Debelah Morgan  is able to transition and jump throughout the range on a single breath and hold notes without any effort and with apparent ease.

The lower range is slightly smoky, dark, but breathy, and is connected well to the midrange. The midrange itself [top of third octave, start of fourth octave] is richer and well supported. It displays a maturer, fuller timbre than the upper part of the range, and is healthier and better controlled than the lower extremes of the voice. However, Debelah Morgan  does display versatility in the mid-range and is able to make it lighter and airer if she so chooses [Hear the thicker midrange on Yesterday and its airier counterpart on Its not over].

The belting range is contrasting depending on how it is accessed. When it is utilised without mixing it
is thicker, rounded and heavier, but when mixed it becomes lighter, thinner and noticeably sweeter. From here the voice passes effortlessly into the head voice, where she is able to carry it effortlessly throughout most of the 6th octave (up to Bb6)

Shows a nearly unrivalled skill within her bright and piercing whistle register. Debelah Morgan is able to articulate within this part of her range, as well as conducts trills, runs that traverse the range and hit staccato notes accurately [all can be heard done live in Dance With Me from 4.30].

Vocal Negatives: Sometimes child-like tone isn't to everyone's taste, along with the head-dominant singing throughout the voice. The voice overall lacks real weight.

Vocal Profile: Kristin Chenoweth

 Kristin Chenoweth

Vocal Type: Lyric Coloratura Soprano
Vocal Range: E3-F6 3 octaves and a semi-tone
Whistle Register: No
Vocal Pluses: Extremely individual tone that makes it impossible to mix her voice with others’. A simply stunning technical singer with perfect breath and pitch control, with the voice never sounding pinched or forced because of it. Classically trained as a coloratura soprano.

Her lower register is considerably weaker than the rest of the range, but still maintains a full sound (Over the Rainbow, I’m Not That Girl), reaching a good bit lower than most soprano ranges are able to go (down to E3).

The middle range from around A3-A4 is round, warm, and bright, having a beautiful supported tone that is where the voice finds its most versatile colouring.

The belting range, when used, is well-produced as Chenoweth progressively mixes her belt to produce notes up to E5 [The Girl in 14 G, Thank Goodness, Popular, My New Philosophy]. The tone never loses its warmth, however it does lose most all of the delicacy found in the lower range.


The head voice, spanning all the way to an impressive F6, is perhaps the most defining feature of the voice. It has brightness, clarity, warmth, and an unmistakable tone and easy vibrato that can be removed [Home], but is mostly employed. The upper part of the head voice loses the warmth of the lower range, but still maintains an impressive amount of power and clarity in the uppermost reaches of the voice [Glitter and be Gay , Der Holle Rache]. Impeccable breath control in this top range also makes it possible for her to sustain high head notes without diminishing their quality, displaying the ease that this range presents for her, most noticeably in Glitter and be Gay with several sustained Eb6s.

Vocal Negatives: The voice can sound nasal and unpleasant to some people’s ears. Also, while brilliant for Broadway, light opera, and jazz singing, the voice seems uncomfortable singing pop music, losing some of the ease and warmth found otherwise. The very uppermost reaches of the head voice can sound shrill even with the use of vibrato (starting at D6), though this may change with time.

Big thanks to Marty M for composing this Profile!

Vocal Profile: Alison Goldfrapp

Alison Goldfrapp

Vocal Type: Lyric Soprano
Vocal Range:3 Octaves 5 Notes F2-E6
Whistle Register:No- high notes sound like head voice.
Vocal Pluses: Vast expansive connected range that is able to go from low to high easily; expanding into the baritone ranges and well beyond the typical soprano ranges.

Lower register is characterized with a light and husky character to it, that though despite her higher vocal type she is able to sing within this area with relative ease due to a healthy and established technique.

Brilliant mixing technique allows the voice to access any note within the belting range with frightening ease, showing no signs of approaching its limit even up to Soprano Eb (Eb6).

However, the voice seems to find its home within the head voice. In which it is able to sustain notes for long periods of time, perform a series of vocal acrobatics, (see Happiness, Voicething, Pilots, Horse Tears, Utopia). The head voice also posses a duality to it, being able to take on an operatic tone (See the intro of Utopia) or a more contemporary likening (see Happiness).

 The voice as a whole posses an instrumental quality to it, and is often utalized in this way to paint the sonic landscape of the songs.

Vocal Negatives: The middle register of the voice lacks character, and most belts (from G4-E5) don't contain the characteristics usually associated with "belting"- for example power and projection. Though this is more of personal preference than actual fault in technique.

Siti Nurhaliza Vocal Profile/ Range [2 octaves/Coloratura mezzo-soprano]

I didn't know of her, until she was recommended, so here is a little blurb about Siti Nurhaliza to get you up to speed:

Siti Nurhaliza is a Malaysian artist, who to date, has garnered more than 200 local, as well as many international, awards. She rose to fame after winning a talent show in 1995, at the age 16- she's now 33- and has since released fifteen studio albums, with her latest, All Your Love, being her first in English.

Siti Nurhaliza

Vocal Type: Coloratura mezzo-soprano
Vocal Range: 2 Octaves 4 notes D3-A5
Whistle Register:No
Vocal Pluses: Siti Nurhaliza is a technical singer that sounds to have excellent understanding of her voice. She is capable of complex melisma that often dips into the major Locrian Scale, producing exotic and alluring melodies. It's skill that can be used throughout the range - listen to Kunia Dalam Samaran to hear how she jumps effortlessly between registers- and can be done so at incredible speeds.

[Vocal Profile] Lana Del Rey

Lana Del Rey

Vocal Type:Dugazon
Vocal Range: 3 Octaves and one note (B2-C6)
Whistle Register: No
Vocal Pluses: An expressive voice that carries the emotional narrative of the lyric through Lana Del Rey's uncanny ability to channel whatever character is contained within them. This is accentuated by her brilliant intonation and phrasing which maintain that the song words are always clear, audible and understandable to a listener. Very much influenced by Nancy Sinatara, Lana has adapted and modernised her sound for a new generation.

Michael Jackson: Vocal Profile/ Range [High Tenor/ 4 Octaves]

DivaDevotee's first Male profile; what a joyous and momentous day! I'm not sure how frequent these "male profiles" will be, especially considering the list of female pending profiles, but I'll try to get one out at least once a month. So, who better to start with than the legend that is Michael Jackson.

Michael Jackson

Vocal Type: High Tenor
Vocal Range: 4 Octaves (F2-F6)
Whistle Register: No
Vocal Pluses: Michael Jackson's voice was predominately light and agile with a nimble, rhythmic dexterity that allowed for complex vocal runs, as well as allowing it to mimic instruments- such as drums- or employ trademark grunts and exclamations that were controlled and achieved via proper technique. The voice also had the strength and stamina to hold notes for lengths of time, without wavering in pitch, and the ability to emote the meaning of the lyrics exceptionally.

The low range was the heaviest part of the voice, and was surprisingly dark when compared to the higher parts of the modal range, in which he usually sang. As the voice passed into the midrange it began to lighten and brighten significantly. The chest voice had an elasticity and flexibility that allowed for it to stretch, without much impact on the tone, up to the fifth octave. The belting range had a number of timbres, being either bright, light and smooth, or coarser, slightly heavier and with an edge-see They don't care about us . The falsetto was solid, warm and more resonate than many other male singers, though it was also capable of a softer timbre if so required. Comfortable in this part of the range, Michael Jackson could sing effortlessly here holding notes, or hitting complex staccato notes- see Butterfies.

Unique and immediately recognisable voice that harmonised with itself brilliantly to create luscious and iconic layered vocals.

Vocal Negatives: Michael Jackson's tone could be considered thin and lacking in resonance, particularly in the mid-to high part of the modal register, when compared to other male singers. It should be noted that many fans consider this to be a unique, and positive, feature of the voice.

Jessica Simpson Vocal Range / Profile

Jessica Simpson

Vocal Type: Lyric Soprano
Vocal Range: 3 Octaves 2 notes and a semitone (E3-G#6)
Whistle Register: Yes
Vocal Pluses: The midrange is smooth and slightly smoky. Depending on the placement of the voice, the chest voice can be bright and smooth- when mixed- or edgy and coarse-when it's pulled up into the throat. The lower half of the belting range- up to a C5- is where the voice finds its strongest sound; being resonate and controlled. The vibrato is stable and pleasant and smooths out any harshness in tone that poor technique may induce. Has the strength and stamina to hold notes for impressive lengths of time throughout the belting range without wavering in pitch.  The head voice is heavy with a piercing quality and fullness to it.
Vocal Negatives: Poor technique; the belting voice is often placed in the throat, making the sound produced sound like shouting in the higher extremes, and the control over the voice can be inconsistent.

JoJo Vocal Profile /Range

JoJo

Vocal Type: Mezzo Soprano
Vocal Range: 4 Octaves 1 Note and a semitone (B2-C#7)
Whistle Register: Yes
Vocal Pluses: Light and agile voice that has a nimble dexterity that allows it to accomplish complex vocal runs effortlessly. The voice also has the strength and stamina to hold notes for lengths of time without wavering in pitch.

The low range is the heaviest part of the voice, and is of medium weight. As the voice passes into the midrange the voice begins to lighten and brighten significantly. The chest voice has an elasticity and flexibility that allows it to stretch, without much impact on the tone, up into the fifth octave. The head voice is soft and light, with a warm and breathy timbre, whereas her whistle register is piercing and solid.

Vocal Negatives: The tone, particularly in belting range, is weak and lacking character. The head voice also needs to be improved on to strengthen its tone and connection to the lower range.