In the former Chinese pop music scene, almost every famous singer has a highly recognizable voice style. As soon as you open your mouth, you know who is singing. In recent years, many new generations of singers, regardless of their own voice conditions, like to imitate European and American singing voices in the pronunciation of biting words.
In a sense, the singing skills of many singers today are actually better than those of old singers twenty or thirty years ago, most of them have received systematic professional training and learned a more scientific way of vocalization, but they have also begun to get used to singing Chinese songs in English songs.
Many singers like to deliberately hide their true voice characteristics in singing, trying to make their timbre more inclined to some kind of standard template. This is in stark contrast to the former Chinese pop singers.
It is precisely because the singing style of the older generation of singers is too distinct, so that among them, once they have the same voice style as each other, it will be easy to be compared. In this regard, this paper specially sorts out several pairs of very representative cases, and analyzes them one by one with the similarity of their voice styles from low to high.
<h1 class= "pgc-h-arrow-right" > Zhang Yusheng and Zhang Jie: Prince of Treble</h1>
In the history of the Chinese pop music scene, Zhang Yusheng's vocal talent has rarely been matched, especially in his gorgeous high pitch. Zhang Yusheng's high tone is characterized by bright and powerful, rounded and open, reflecting his exceptionally powerful vocal cord function.
Most of today's listeners have only heard of his "The Sea" and "My Future Is Not a Dream", but what is more representative of his high pitch is songs such as "Xiaobao Etudes" and "The Name of the Rose", which are not very well sung.
In these songs, Zhang Yusheng shows his innate high pitch, and the timbre of his mixing area is extremely uniform, even if it is sung to an amazing G5 height, its timbre is still full and powerful, there is no sign of weakness, and the true vocal component is very high.
Among contemporary singers, Zhang Jie is also known for his bright treble, which also makes the two have some similarities in their listening in the treble area. But in terms of brightness, Zhang Jie is inferior. Moreover, Zhang Jie's voice exchange point in the ultra-high range is more obvious.
Compared with Zhang Yusheng, Zhang Jie's technique is not bad, but due to different congenital conditions, his high voice is slightly flat and bleak (but only compared with Zhang Yusheng). Overall, Zhang Jie should be the one who most resembles Zhang Yusheng among contemporary Chinese male singers.
<h1 class= "pgc-h-arrow-right" > Na Ying and Zhang Huimei: Female vocal models</h1>
Strictly speaking, Na Ying and Zhang Huimei's singing methods are completely different, but their voice characteristics are indeed somewhat similar, and they are both good at singing love songs (of course, Zhang Huimei's song path may be wider).
If in terms of timbre alone, Then Ying and Zhang Huimei may be the most recognizable and most easily accepted type of Chinese female singers: a clear light in the husky.
The difference is that Na Ying's voice is thicker, Zhang Huimei's voice is lighter, and there are obvious differences in its resonance style and position.
This also determines their singing style. To use a popular saying at the moment: flow feels different. For example, singing lyrical slow songs, Na Ying appears to be frustrated and powerful, while Zhang Huimei is more gentle and smooth.
But if you let them simply sing a long tone, without any ups and downs and transitions, the similarity of their voices will be reflected at this time.
In fact, there are other female singers with such vocal qualities, such as Xu Meijing. But from the perspective of pure timbre, Na Ying and Zhang Huimei are closer.
<h1 class= "pgc-h-arrow-right" > Jacky Cheung and Cheng Chung Kee: The Pinnacle of Hong Kong Music</h1>
When mentioning these two, the first thing that comes to mind is the song "Left and Right" that they collaborated on in 1996. At that time, Zheng Zhongji had just debuted, and the record company also felt that his voice was very similar to that of Xueyou.
The cooperation between the two was very successful, and people remembered Zheng Zhongji, a newcomer who sang like Jacky Cheung. In the song "Left and Right", there are certain moments that are indeed a bit difficult to distinguish between true and false.
Later, Zheng Zhongji collaborated with Jacky Cheung and Xu Zhi'an on "A,D.", but Xu Zhi'an's voice was particularly prominent in it.
In those days, record recordings liked to use heavy reverbs, which brought the two of them closer to each other than they actually sounded.
Of course, the difference is still obvious. Not to mention the technology, in terms of timbre alone, the peak Xueyou's voice has obvious wetness and a stronger sense of air; while Zheng Zhongji is drier and harder, but the sound thickness in the mid-treble area is better.
Although he was compared with the god of song from the beginning, Zheng Zhongji still went out of his own musical path. His way of speaking has its own characteristics, and it is not exactly the same as Xueyou.
<h1 class= "pgc-h-arrow-right" > Yang Kun and Adu: Difficult to distinguish</h1>
There was a time, that is, when Adu was still very active, Yang Kun and Adu were often compared by everyone. For those who are not familiar with these two singers and whose ears are not particularly sharp, their voices are close to being difficult to distinguish.
If the first few pairs can only talk about similarity, then the voices of these two can already be described as similar. Of course, if you are a fan of Yang Kun or Adu, you can still tell.
As far as the timbre itself is concerned, if you have to pick a difference, Adu is better than Yang Kun's hoarseness, and Yang Kun's timbre is brighter and stronger.
But what should be said here is that the singing skills of the two are not on the same level at all. Adu's singing breath is unstable, and there are defects in breathing methods; while Yang Kun's basic skills are very solid, and the scene is very stable. However, from the perspective of timbre performance, Adu's hoarseness is more natural, and Yang Kun is relatively more technical.
Although their voice conditions are different from most people, an interesting phenomenon is that in those years of KTV, boys almost always imitated them to sing.
<h1 class= "pgc-h-arrow-right" > Zhang Xinzhe and Xiong Tianping: Feminine male voices</h1>
In the author's mind, the singers with the most similar voices are Zhang Xinzhe and Xiong Tianping.
When Xiong Tianping first debuted, if someone played Xiong Tianping's song to a friend next to him, and then asked who sang it, the other party's answer must be: Is Zhang Xinzhe out of a new album?
Their voices are so close: agile, beautiful, slender, supple, and extremely prominent among male singers.
Because of this, Xiong Tianping also continues Zhang Xinzhe's song path in general, and they are all good at interpreting love songs with large vocal ranges and ups and downs. The melody is beautiful to the extreme, and the singing voice is also beautiful to the extreme.
But there is always a difference. Zhang Xinzhe's voice is softer and thinner, and Xiong Tianping is more rounded and bright. Although this distinction is really less obvious to many people.
Xiong Tianping is good at using nasal resonance, but in fact, Zhang Xinzhe's nasal resonance is also very good, but his voice is thin and does not sound very prominent.
Xiong Tianping and Zheng Zhongji are somewhat similar, both debut is the peak, in just a few years, they have sung all the masterpieces of their careers. But it has never been possible to completely get rid of the shadow of the more senior and famous "twin voice" singer.
If we talk about the degree of singing of the works, Xiong Tianping's masterpieces may not be inferior to zhang Xinzhe's golden songs at his peak. But people's impression of him is also forever fixed in that era.