Ado (14,462 views)

[Electric Mami]

Photo taken by Viola Kam (V’z Twinkle) at Palladium Times Square on March 23, 2024

Full name: Unknown
Stage name: Ado
Birth date and place: October 24, 2002 in Tokyo, Japan
Years active: January 2017-Present
Vocal range and voice type: G♯2 - C7 (4 octaves and 4 semitones) / Mezzo So-pad-thai-no

SPOILER: Click to show

{Vocal Summary}

Utaites are known for their vocal gymnastics, but there is one of them that particularly stands out in Japan right now: Ado. If you don’t know her, I invite you to watch her Artist on the Rise video. Accomplishing astonishing sales and streams records and racking up the dozens of millions of views on her YouTube channel since her first single “Usseewa”, Ado is an arena-filling mezzo soprano capable of some of the most contrasted vocals you can come across, from the softest, warm, reassuring head voice, to the most terrifying, gut-wrenching scream from your deepest nightmares. Let’s talk about these extremities and everything that’s in between as well. The linked songs below refer to precise timestamps, so don’t hesitate to click them to have an auditory representation of this vocal summary’s points.

Fan of vocaloid and vocaloid producers, Ado has collaborated with a great number of artists/composers (jon-YAKITORY, Hiiragi Kirai, WhaleDontSleep, TeddyLoid, Shiina Ringo who she admires a lot, to name a few), allowing her to discover and develop her abilities on a large variety of genres and atmospheres, thus making her a very competent and expressive vocalist.

Since her very first covers at only 14 years old, Ado has shown a growing personality with a captivating ability to project strong emotions through her singing. Her voice has quickly deepened but has always had the charming darkness of a mezzo soprano. Frequently relying on her lower register, she is comfortable down to the lower third octave and sometimes even touches the second octave while still being in pure chest register. Occasionally, she will also add a slight and tight vibrato to her mid third octave notes, adding up to the common bewitching, sometimes intimidating (see “Readymade”) quality of her lows. Her forays into fry have seen an increasing number of instances more recently and lead to some successfully executed notes, leaving you yearning for more potential low notes in the second octave. “Overdose” and “bin” are go-to covers when it comes to savouring her low register.

If there is a part of Ado’s vocal range that is particularly nuanced, it’s her high register. Her chest voice can go from a soft, breathy tone with a natural warmness and roundness to immaculate, powerful, resonant belted notes with a fantastic bright tone (“Shinjidai”). As for her mixed register, she uses it to get a thinner tone with an impressive, tight vibrato in the mid and upper fifth octave (“FREEDOM”), and/or bring a bit of sassiness to her vocal lines (“Lucky Brute”).

Since her debut as an utaite, she has been using her head voice and falsetto frequently, and has now gained impressive control and nuancing of it, switching smoothly with her chest and mix registers. She also uses vocal flips between chest register and head voice a lot either to support her singing or by pure stylistic choice (see “Show”). Her falsetto (softer tone) and head voice (her signature rounder tone and more connected to her chest register) are used for the soft and reassuring tone mentioned earlier (“Giragira”), as well as powerful notes in the mid and upper fifth octave, and higher (“Godish”). She even relies mostly on her head voice and falsetto for some songs with great agility and delicateness (“Love ka?”, “Melty Land Nightmare”). She can extend it up to the mid sixth octave, often for short yet intentional notes. Additionally, Ado has mastered a melodic and controlled use of her whistled register, usually used for backing vocals (“Motherland”), making the future full of surprises (as if it wasn’t already exciting enough).

Ado largely takes advantage of her naturally powerful and dark voice to give her tone a more dramatic, tenor-ish aspect in her medium register, particularly in the mid fourth octave (see “DIGNITY”, “Tot Musica”). This allows her to contrast greatly with a higher larynx placement to take a “cuter” voice on particularly eccentric vocal passages (“Darling Dance”, “Godish”), which are often on the edge of voice acting (“Fleeting Lullaby”). This comparison isn’t anywhere near a stretch, given how she can sound like 3 different people in a single cover (case in point: “Godish”, again). Another notable and natural quirk of her voice is the occasional Shakira-esque tone she can get in head voice (see these snippet of “Show” and “Yoru no Pierrot” for a good example).

Lastly, this vocal summary wouldn’t be complete without mentioning Ado’s signature grit, an iconic moment of her using it being the “Haa?” before the chorus of “Usseewa”. She has been using and mastering it since as early as 2017, and it has become more and more ferocious over time (“Kokoro toiu Na no Fukakai”, “Crime and Punishment”), sometimes leading to feral screams that depict the rawest emotions, with even some used to sing a phrase an octave higher. It is used to emphasise some moras, eventually make a passage climactic, and is the secret weapon for her expression of distress and freedom. Now her live performances, albeit proving her ability to showcase the many facets of her voice on a full 2-hour long show with intense stage presence and dancing along with increasingly better breath control (sometimes two days in a row), have shown instances of her being unleashed on the screamed vocals. This sure is a breathtaking show to witness whether you’re in front of a screen or inside the venue, but might not be the healthiest way of executing screams in the entire sixth octave, even though she actually uses them on fairly few occasions. Given her constant improvement and expansion in techniques, it is also entirely plausible that she will soon learn healthier ways to scream.

In conclusion, her ability to change her tone conjointly with her great understanding and wealthy use of contrasts, distortion, larynx and tongue position, make her a playful and free vocalist. At only 21 years old, Ado has developed a strong, intense and nuanced personality and is an essential figure of the modern Japanese music landscape, with the best yet to come. One can only hope she will keep refining and taming her already fascinating technique in order to have a long and happy career; the blue rose will bloom and dreams will come true.

Significant High Notes (554)
C7 (“Show” Kouhaku Uta Gassen 2023/12/31, “Odo” Much clearer in the Bon Odo remix)
B6 (“Odo” Taipei Music Center 2024/02/07 + Le Zénith Paris 2024/03/11, “Show” Various Live Performances)
B♭6 (“Aishite Aishite Aishite” Taipei Music Center 2024/02/07, “Faking of Comedy”)
A6 (“Usseewa” Nippon Budokan 2023/08/30)
G♯6 (“Aishite Aishite Aishite” / “Aishite Aishite Aishite”, “Odo” Saitama Super Arena 2022/08/11 + Palladium Times Square 2024/03/23)
G6 (“Kocchi Muite Baby” Nawa clip, “Shinjinrui”)
F♯6 (“Backlight” Nippon Budokan 2023/08/30, “DIGNITY” Various Live Performances, “Godish”, “Rebellion” Taipei Music Center 2024/02/07, “Villain”)
F6 (“Odo”, “Fleeting Lullaby” Nippon Budokan 2023/08/30, “Motherland”, “Show” Various 2023/12 Live Performances, “Tot Musica” Le Zénith Paris 2024/03/11, “World Is Mine” Karaoke)
E6 (“FREEDOM” Palladium Times Square 2024/03/23, “Godish”, “Jama”, “Kinmokusei”, “unravel” Nippon Budokan 2023/08/30)
E♭6 (“Adam to Eve ni Naretara”, “AntiSystem’s”, “Fleeting Lullaby”, “Nounai Kakumei Girl” 2019 Take, “Loki” Karaoke, “Ready Steady” Yokohama Arena 2023/09/17, “Show”)
D6 (“FREEDOM” Taipei Music Center 2024/02/07, “Godish”, “Ibara”, “I’m a Controversy” Nippon Budokan 2023/08/30, “Love ka?”, “Tokyo Cannibalism”, “Usseewa” Nippon Budokan 2023/08/30)
C♯6 (“Additional Memory”, “DOLL”, “Godish”, “Lucky Brute”, “Otome Kaibou”, “Readymade” Palladium Times Square 2024/03/23, “UNFORGIVEN”)
C6 (“’20KYO”, “Accident Coordinator”, “Adam to Eve ni Naretara”, “Darling Dance”, “daze”, “Eraser Girl”, “FIRE” Karaoke, “Losstime Memory” Karaoke, “Marunouchi Sadistic” Karaoke, “Odo” 63rd Japan Record Awards Special Medley Version, “Readymade” Saitama Super Arena 2022/08/11, “Rolling Girl” Karaoke)
B5 (“Backlight”, “Birthday Song for Miku” 2022 Take, “DOLL”, “Ibara” Nippon Budokan 2023/08/30, “Let’s La Cookin’ Showtime” Karaoke, “Rolling Girl” Karaoke, “Love & Destroy”, “Motherland”, “Shinjinrui”, “Stick Candy”, “Yokubari”)
B♭5 (“Bad Dance Hall”, “Call Boy”, “Eraser Girl”, “Faking of Comedy”, “Fleeting Lullaby”, “Godish”, “NaNaNa”, “PIANO*GIRL” Karaoke, “Ready Steady”, “Show”, “Suisei”, “Tot Musica” Taipei Music Center 2024/02/07, “unravel”)
A5 (“Accident Coordinator”, “Aku no Musume” Karaoke, “Culture”, “The Disease Called Love”, “Faking of Comedy”, “FIRE” Karaoke, “Hungry Nicole”, “Imo Demo Iijan” Normal pitch, “Limbo”, “Losstime Memory” Karaoke, “Ready Steady” Yokohama Arena 2023/09/17, “Rolling Girl” Karaoke, “Otome Kaibou”, “PIANO*GIRL” Karaoke, “Rebellion”, “Sekai Jumyou to Saigo no Ichinichi” Karaoke, “Snow Song Show”, “Tokyo Cannibalism”)
G♯5 (“Aishite Aishite Aishite”, “Aku no Meshitsuukai” Karaoke, “Backlight”, “Bocca della Verità”, “Call Boy”, “Crime and Punishment”, “Factoria”, “fool,fool,fool”, “FREEDOM” Nippon Budokan 2023/08/30, “Freud Mata”, “Honeymoon Un Deux Trois” Nawa clip, “Idol” Ado sense clip, “I’m Invincible”, “Kurakura” Various 2024/03 Live Performances, “Lucky Brute”, “Motherland”, “Nounai Kakumei Girl” 2019 Take, “Odo”, “Rebellion”, “Shinjinrui”, “Star Night Show”, “Suisei”, “Viva Happy” Normal Pitch, “Yoake to Hotaru”)
G5 (“16-bit Girl”, “Additional Memory”, “Adam to Eve ni Naretara”, “AntiSystem’s”, “Aster”, “Basket Worm”, “DIGNITY”, “FREEDOM”, “Giragira”, “Inochi Mijikashi Koiseyo Otome”, “Jama”, “Kagakushuu”, “Loki” Karaoke, “Love & Destroy”, “Marunouchi Sadistic” Karaoke, “Melty Land Nightmare”, “Mr. Schadenfreude”, “New Genesis”, “Scissorhands”, “Shikabaneeze”, “Stick Candy”, “Tell Your World”, “Tot Musica” Various Live Performances, “Uminaoshi”, “unravel”, “Usseewa”, “Yoru no Kujira”, “Zanelli”)
F♯5 (“Additional Memory”, “Backlight”, “Chocolat Cadabra”, “Darling Dance”, “DIGNITY”, “Factoria”, “Faking of Comedy”, “FIRE” Karaoke, “Hungry Nicole”, “Ibara”, “Kazari Janai no yo Namida wa”, “Kimi no Taion”, “Koi wa Sensou”, “Liar Dance”, “Rolling Girl” Karaoke, “Love Trial”, “Melty Land Nightmare”, “NaNaNa”, “New Genesis”, “Painter Uta” Commercial, “PIANO*GIRL” Karaoke, “Pretty Cure 5, Smile go go!”, “Rebellion”, “Shikabaneeze”, “S’il Vous President” Karaoke, “Star Night Show”, “Uminaoshi”, “Watashi no R”, “The World’s Continuation”, “Yukue Shirezu”)
F5 (“Aishite Aishite Aishite”, “Aitakute”, “All Night Radio”, “Bocca della Verità”, “daze”, “eat”, “Eraser Girl”, “fool,fool,fool”, “Freud Mata”, “Fukan, Ai o Odoru”, “Giragira”, “Honeymoon Un Deux Trois” Nawa clip, “Kokoro toiu Na no Fukakai”, “Kurakura” Taipei Music Center 2024/02/07, “Mayonaka no Door～stay with me” Various Live Performances, “Namae no Nai Kaibutsu” Nawa clip, “Night in Tokyo”, “Odo”, “Pretty Cure 5, Smile go go!”, “Ready Steady”, “Scissorhands”, “Scratch” TAKARAKUJI ONE PIECE Scratch Commercial, “Sekai Jumyou to Saigo no Ichinichi” Karaoke, “Show”, “Sunny Wave”, “Value”, “Where the Wind Blows”)
E5 (“’20KYO”, “Accident Coordinator”, “Additional Memory”, “Ai o Tsutaetai da toka” Karaoke, “Aishite Aishite Aishite”, “Alkali Underachiever” Karaoke, “All Night Radio”, “Ashura-chan”, “Aster”, “Bad Apple!!” Karaoke, “Birthday Song for Miku” 2022 Take, “Blue Flame”, “Chocolat Cadabra”, “Crime and Punishment”, “Culture”, “Darling Dance”, “eat”, “Eien no Akuruhi”, “Fukan, Ai o Odoru”, “Hashitairo no Kanshou”, “Hello Signals”, “Hysteric Night Girl”, “I’m a Controversy”, “I’m Invincible”, “Inochi Mijikashi Koiseyo Otome”, “Interviewer”, “Kagakushuu”, “Kawaiku Naritai” Nawa Clip, “Kawaru Gawaru” Ado sense clip, “Kimi no Taion”, “Kinmokusei”, “Kirai, Kirai, Jiga Hidai!”, “Kokoro toiu Na no Fukakai”, “Kurakura”, “Loki” Karaoke, “Love Trial”, “Limbo”, “Lucky Brute”, “Mechamote I LOVE YOU”, “Melty Land Nightmare”, “Jama”, “New Genesis”, “Otome Kaibou”, “Overdose”, “Painter Uta” Commercial, “Radio Noise”, “Rain to A Flower, A Song for You”, “Rasen”, “Senbonzakura”, “Shake It Now.”, “Snow Song Show”, “Summertime Record” 2019/08/14 Twitter Video, “Tokyo Cannibalism”, “Unholy” All Night Nippon 2023/11/27, “Villain”, “Viva Happy” Normal Pitch, “Watashi no R”, “The World’s Continuation”, “Yokubari”, “Yoru no Kujira”, “Zanelli”)
E♭5 (“’20KYO”, “Adam to Eve ni Naretara”, “AntiSystem’s”, “Bad Dance Hall”, “Baka”, “Balalaika” Karaoke, “Balleriko” Karaoke, “Basket Worm”, “Black★Rock Shooter”, “Call Boy”, “daze”, “deep coma”, “DIGNITY”, “eat”, “Factoria”, “Faking of Comedy”, “Fleeting Lullaby”, “Freud Mata”, “Giragira”, “Hanabi”, “Himawari”, “Imo Demo Iijan” Normal pitch, “Junjou Skirt”, “Kocchi Muite Baby” Karaoke, “Kurakura” CDTV Live! Live! 2023/12/18, “Lacteus Orbis”, “Liar Dance”, “Little Cry of the Abyss” 2019/04/24 Twitter Video, “Marunouchi Sadistic” Karaoke, “Mechamote I LOVE YOU”, “MKDR(DSCF)”, “Ningyo”, “Motherland”, “Music Music”, “NaNaNa”, “Nounai Kakumei Girl”, “Osharebanchou”, “PIANO*GIRL” Karaoke, “Pure-Hearted Skirt”, “Rain to A Flower, A Song for You”, “Readymade”, “Shizumeru Machi”, “Show”, “S’il Vous President” Karaoke, “The Snow White Princess is” Karaoke, “Suisei”, “Tachiirikinshi”, “Teikoku Shoujo” Karaoke, “Tokyo Summer Session” Karaoke, “Umapyoi Densetsu” Minecraft stream, “Uninterrupted Indigo”, “unravel”, “Usseewa”, “Value”, “WA DA DA” Ado sense clip, “Yoake to Hotaru”, “Yoru no Pierrot”, “Yukue Shirezu”)
D5 (“16-bit Girl”, “Aitakute”, “Aku no Musume” Karaoke, “All Night Radio”, “AntiSystem’s”, “Aster”, “Baka”, “Birthday Song for Miku” 2022 Take, “Black★Rock Shooter”, “Blue Flame”, “Buriki no Dance”, “Crime and Punishment”, “Delusion” Karaoke, “Domestic de Violence”, “Dry Flower”, “Eien no Akuruhi”, “Envy Baby” Karaoke, “FREEDOM”, “Fukan, Ai o Odoru”, “Giragira”, “Godish”, “Good Morning World!” Minecraft stream, “Gossip” Karaoke, “Happy Song” TamaHome Commercial Ver. 1 / Ver. 2, “Hashitairo no Kanshou”, “Hello, Hoshi o Kazoete” Karaoke, “Hitorinbo Envy” Karaoke, “Honeymoon Un Deux Trois”, “Honnou” 2020/01/25 Twitter Video, “Ibara”, “Imo Demo Iijan” Normal pitch, “I’m a Controversy”, “I’m Invincible”, “Inochi Mijikashi Koiseyo Otome”, “Interviewer”, “Karakuri Pierrot” Nawa clip, “Kawaikute Gomen”, “Kazari Janai no yo Namida wa”, “Kinmokusei” Karaoke, “Kirai, Kirai, Jiga Hidai!”, “Koi wa Sensou”, “Kokoro toiu Na no Fukakai”, “Koshitantan” Karaoke, “Last Resort”, “Let’s La Cookin’ Showtime” Karaoke, “Limbo”, “Love & Destroy”, “Love ka?”, “Mayonaka no Door～stay with me” Various Live Performances, “Melty Land Nightmare”, “Namae no Nai Kaibutsu” Nawa clip, “New Genesis”, “Noushou Sakuretsu Girl” Karaoke, “Osharebanchou”, “PIANO*GIRL” Karaoke, “Pretty Cure 5, Smile go go!”, “Rasen”, “Ready Steady”, “Rebellion”, “Scissorhands”, “Secret Answer”, “Senbonzakura”, “Shake It Now.”, “Snow Song Show”, “Stick Candy”, “Strangers”, “Sunny Wave”, “Super Lover Lotion” Minecraft stream, “Tokyo Flash”, “Tot Musica”, “Uminaoshi”, “UNFORGIVEN”, “unravel”, “Uninterrupted Indigo”, “Viva Happy” Karaoke, “Vivid Army” Nawa clip, “Where the Wind Blows”, “The World’s Continuation”, “Yobanashi Deceive” Karaoke, “Yokubari”, “Yoru no Kujira”, “Yukue Shirezu”, “Zanelli”)
C♯5 (“Aa, Subarashiki Nyansei”, “Ai o Tsutaetai da toka” Karaoke, “All Night Radio”, “Ashura-chan”, “Backlight”, “Bad Dance Hall”, “Birthday Song for Miku”, “Music Music”, “Charles” Karaoke, “Chocolat Cadabra”, “daze”, “Doting” 2019 Take, “DIGNITY”, “Domestic de Violence”, “Ego Rock”, “Eien no Akuruhi”, “Fleeting Lullaby”, “FREEDOM”, “Hello, Hoshi o Kazoete” Karaoke, “Himawari”, “Hungry Nicole”, “Hysteric Night Girl”, “Interviewer”, “Kazari Janai no yo Namida wa”, “Kimi no Taion”, “Koi wa Sensou”, “Liar Dance”, “Love Trial”, “Lucky Brute”, “Mabel” 2024 Take, “Moon Waltz” Minecraft stream, “Night in Tokyo”, “Odo”, “on the rocks”, “One Room All That Jazz” Karaoke, “Rebellion”, “Rumor” Karaoke, “Sakurabiyori to Time Machine” Kokuritsu Kyougijou 2024/04/27-28, “Scissorhands”, “Scratch” TAKARAKUJI ONE PIECE Scratch Commercial, “Seishun Ado Gakuen” Ado sense clip, “Shake It Now.”, “Show”, “The Sound of Music” 2021/09 stream, “Summertime Record” 2019/08/14 Twitter Video, “Tokyo Summer Session” Karaoke, “Umapyoi Densetsu” Minecraft stream, “Value”, “Villain”, “Warui Yume”, “Yokubari”, “Yoru no Pierrot”)
C5 (“’20KYO”, “Accident Coordinator”, “Adam to Eve ni Naretara”, “Aishite Aishite Aishite”, “Aitakute”, “Bad Dance Hall”, “Balalaika” Karaoke, “Basket Worm”, “bin”, “Binks no Sake”, “Blue Flame”, “Bocca della Verità”, “Buriki no Dance”, “Butter” 2021/11 stream, “Crime and Punishment”, “Culture”, “Darling Dance”, “Darling” 2023/06/10 Instagram Story, “Daydream café” Nawa clip, “daze”, “deep coma”, “DOLL”, “Doting”, “Dry Flower”, “eat”, “Eraser Girl”, “fool,fool,fool”, “Freud Mata”, “Fukakouryoku” Ado sense clip, “Giragira”, “Hanabi”, “Hashitairo no Kanshou”, “Hime Chen! Otogi Chikku Idol Lilpri” Minecraft stream, “Honeymoon Un Deux Trois”, “Honnou” Karaoke, “Ibara”, “Imo Demo Iijan” Normal pitch, “I’m a Controversy”, “Junjou Skirt”, “Kagakushuu”, “Kawaru Gawaru” Ado sense clip, “Kirai, Kirai, Jiga Hidai!”, “Kokoro toiu Na no Fukakai”, “Kurakura”, “Lacteus Orbis”, “Liar Dance”, “Mabel”, “Marunouchi Sadistic” Karaoke, “Mayonaka no Door～stay with me” Various Live Performances, “Mr. Schadenfreude”, “MKDR(DSCF)”, “Natsuyo no Magic” Ado sense clip, “Nerve Impulse” Karaoke, “New Genesis”, “Night in Tokyo”, “Ningyo”, “Nounai Kakumei Girl”, “Odo”, “on the rocks”, “Pretty Cure 5, Smile go go!”, “Princess” Minecraft stream, “Pure-Hearted Skirt”, “Radio Noise”, “Readymade”, “Ready Steady”, “Sayoko”, “Scissorhands”, “Seisou Bakuretsu Boy” Karaoke, “S’il Vous President” Karaoke, “Shizumeru Machi”, “Stick Candy”, “Tachiirikinshi”, “Tell Your World”, “Tomodachi no Uta”, “Torare Kei” 2020/11/06 TikTok Video, “Tsukema Tsukenai”, “UNFORGIVEN”, “Uninterrupted Indigo”, “unravel”, “Usseewa”, “Viva Happy” Normal Pitch, “WAVE” Minecraft stream, “Where the Wind Blows”, “World Is Mine” Karaoke, “Yoake to Hotaru”, “Yoru no Kujira”, “Yoru no Pierrot”, “Zanelli”)

Significant Low Notes (349)
A3 (“Accident Coordinator”, “Adam to Eve ni Naretara”, “Ai o Tsutaetai da toka” Karaoke, “Aitakute”, “Bad Dance Hall”, “Baka”, “Blue Flame”, “Buriki no Dance”, “Chocolat Cadabra”, “Crime and Punishment”, “Culture”, “Darling Dance”, “DIGNITY”, “Eien no Akuruhi”, “Eraser Girl”, “fool,fool,fool”, “Giragira”, “Hashitairo no Kanshou”, “Himawari”, “Honeymoon Un Deux Trois”, “Honnou” Karaoke, “Hungry Nicole”, “Ibara”, “I’m a Controversy”, “I’m Invincible”, “Inochi Mijikashi Koiseyo Otome”, “Kabukichou no Joou”, “Kagakushuu”, “Kawaikute Gomen”, “Kimi no Taion”, “Koi wa Sensou”, “Kurakura”, “Let’s La Cookin’ Showtime” Karaoke, “Mechamote I LOVE YOU”, “Natsuyo no Magic” Ado sense clip, “Otome Kaibou”, “Painter Uta” Commercial, “PIANO*GIRL” Karaoke, “Pretty Cure 5, Smile go go!”, “Radio Noise”, “Ready Steady”, “Rebellion”, “Rumor” Karaoke, “Scissorhands”, “Seisou Bakuretsu Boy” Karaoke, “Senbonzakura”, “Snow Song Show”, “Strangers”, “Suisei”, “Summertime Record” 2019/08/14 Twitter Video, “Sunny Wave”, “Tokyo Flash”, “Tsugou no Ii Karada”, “Uminaoshi”, “Usseewa”, “Watashi no R”)
G♯3 (“16-bit Girl”, “Aa, Subarashiki Nyansei”, “ANEMONE”, “Backlight”, “Balleriko” Karaoke, “Black★Rock Shooter”, “Bocca della Verità”, “Call Boy”, “Charles” Karaoke, “Chocolat Cadabra”, “Darling” 2023/06/10 Instagram Story, “Daydream café” Nawa clip, “daze”, “DIGNITY”, “Fleeting Lullaby”, “Kagakushuu”, “Kimi no Taion”, “Kirai, Kirai, Jiga Hidai!” 2017 Take, “Hello, Hoshi o Kazoete” Karaoke, “Himawari”, “Hime Chen! Otogi Chikku Idol Lilpri” Minecraft stream, “Hysteric Night Girl”, “Ib” 2021/03/18 TikTok Video, “Idol” Ado sense clip, “Imo Demo Iijan” Normal pitch, “I’m Invincible”, “Junjou Skirt”, “Love ka?”, “Love Trial”, “Lucky Brute”, “MKDR(DSCF)”, “Moon Waltz” Nawa clip, “Music Music”, “Odo”, “Pure-Hearted Skirt”, “Rain to A Flower, A Song for You”, “Readymade”, “Rebellion”, “Shinjinrui”, “Shizumeru Machi”, “Show”, “S’il Vous President” Karaoke, “SLEEP WITH SHEEP”, “Sou Desu Ne” Ado sense clip, “Stick Candy”, “Torare Kei” 2020/11/06 TikTok Video, “Unknown Song” Minecraft stream, “Value”, “Villain”, “Warui Yume”, “Where the Wind Blows”)
G3 (“16-bit Girl”, “’20KYO”, “Aa, Subarashiki Nyansei”, “Accident Coordinator”, “Adam to Eve ni Naretara”, “Ame to Petra” Minecraft stream, “Bad Dance Hall”, “Basket Worm”, “bin”, “Blue Flame”, “Bunny”, “Domestic de Violence”, “Doting”, “Dry Flower”, “eat”, “Ego Rock”, “Fragile” Nawa clip, “Freud Mata”, “Fukakouryoku” Ado sense clip, “Godish”, “Good Morning World!” Minecraft stream, “Hanabi”, “Hashitairo no Kanshou”, “Hime Chen! Otogi Chikku Idol Lilpri” Minecraft stream, “Honeymoon Un Deux Trois”, “Honnou” Karaoke, “How You Like That” Ado sense clip, “I’m a Controversy”, “Inochi Mijikashi Koiseyo Otome”, “Kabocha no Pie ga Dekimashita” Minecraft stream, “Kawaikute Gomen”, “Kinmokusei”, “Kocchi Muite Baby” Nawa clip, “Kokoro toiu Na no Fukakai”, “Koshitantan” Ado sense clip, “Kurakura”, “Lacteus Orbis”, “Loki” Karaoke, “Love & Destroy”, “Mabel”, “Marunouchi Sadistic” Karaoke, “Mickey Mouse Theme” Nawa Clip, “New Genesis”, “Night in Tokyo”, “on the rocks”, “Pretty Cure 5, Smile go go!” 2022/02/24 Twitter Video, “Radio Noise”, “Rasen”, “Readymade”, “Senbonzakura”, “Shizumeru Machi”, “SLEEP WITH SHEEP”, “Stick Candy”, “Tachiirikinshi”, “Tell Your World”, “Tomodachi no Uta”, “Tot Musica”, “Tsukema Tsukenai”, “UNFORGIVEN” Nawa clip, “Uninterrupted Indigo”, “True My Heart” Minecraft stream, “Wagamama”, “Yoake to Hotaru”, “Yoru no Kujira”, “Yoru no Pierrot”, “Zanelli”)
F♯3 (“’20KYO”, “Ai o Tsutaetai da toka” Karaoke, “Aishite Aishite Aishite”, “Ashura-chan”, “Baddie” 2024/01/14 Instagram Story, “Black★Rock Shooter”, “Birthday Song for Miku” 2019 Take, “Call Boy”, “Choices” Ado sense clip, “Darling Dance”, “daze”, “DIGNITY”, “Dry Flower”, “Eien no Akuruhi”, “FIRE” Karaoke, “Fleeting Lullaby”, “FREEDOM”, “Fukan, Ai o Odoru”, “Giragira”, “Hungry Nicole”, “Ibara”, “Imo Demo Iijan” Normal pitch, “Interviewer”, “Kazari Janai no yo Namida wa”, “Last Resort”, “Love Trial”, “Lucky Brute”, “Melty Land Nightmare”, “Motherland”, “Osharebanchou”, “Otome Kaibou”, “Rain to A Flower, A Song for You”, “Seishun Ado Gakuen” Ado sense clip, “Shikabaneeze”, “SLEEP WITH SHEEP”, “Snow Song Show”, “Summertime Record” 2019/08/14 Twitter Video, “Uninterrupted Indigo”, “Value”, “Villain”, “Wagamama”, “The World’s Continuation”, “Yoake to Hotaru”, “Zanelli”)
F3 (“Aitakute”, “Balalaika” Karaoke, “Basket Worm”, “Black★Rock Shooter”, “Bocca della Verità”, “Bunny”, “Buriki no Dance”, “Call Boy”, “Charles” Karaoke, “Culture”, “deep coma”, “eat”, “Ego Rock”, “Finesse” Ado sense clip, “fool,fool,fool”, “Fragile” Nawa clip, “Fukan, Ai o Odoru”, “GAL” 2022/07/03 TikTok Video, “Godish”, “Interviewer”, “Kinmokusei”, “Kurakura”, “Loki” Karaoke, “MKDR(DSCF)”, “Night in Tokyo”, “Nounai Kakumei Girl” 2019 Take, “Odo” Minecraft stream, “on the rocks”, “quiet room” Karaoke, “Readymade”, “Star Night Show”, “Tachiirikinshi”, “Uninterrupted Indigo”, “unravel”, “Where the Wind Blows”, “Yokubari”)
E3 (“’20KYO”, “AntiSystem’s”, “Ashura-chan” Nippon Budokan 2023/08/30, “Aster”, “bin”, “Bocca della Verità”, “Eien no Akuruhi”, “FIRE” Karaoke, “Fragile” Nawa clip, “Hungry Nicole”, “Kinmokusei”, “Kokoro toiu Na no Fukakai”, “Last Resort”, “Limbo”, “Love & Destroy”, “New Genesis”, “Otome Kaibou”, “Overdose”, “Rasen”, “Shikabaneeze”, “Summertime Record” 2019/08/14 Twitter Video, “Tokyo Cannibalism”, “Usseewa” Giga remix, “Viva Happy” Normal Pitch, “The World’s Continuation”, “Yoake to Hotaru”, “Zanelli”)
E♭3 (“Aishite Aishite Aishite”, “Basket Worm”, “Culture”, “Darling Dance”, “daze”, “DOLL”, “fool,fool,fool”, “Hashitairo no Kanshou”, “Imo Demo Iijan”, “I’m a Controversy”, “Jama”, “Kick Back” Splatoon steam, “Limbo”, “Mabel”, “MKDR(DSCF)”, “Nounai Kakumei Girl” 2019 Take, “Show”, “Tachiirikinshi”, “Tot Musica”, “True My Heart” Minecraft stream, “Yokubari”, “Zanelli”)
D3 (“Additional Memory”, “bin”, “Buriki no Dance”, “Crime and Punishment”, “Fukan, Ai o Odoru”, “Giragira”, “Jama”, “Motherland”, “NILLILI MAMBO” 2021/11 stream, “Overdose”, “Renai Circulation” Nawa clip, “Snow Song Show”, “Viva Happy” Normal Pitch)
C♯3 (“AntiSystem’s”, “Backlight”, “Fukakouryoku” Ado sense clip, “Godish”, “Hello Signals”, “Jama”, “Last Resort”, “Moon Waltz” Minecraft stream, “Rebellion”, “Villain”, “Youkai Ningen Bem” Nawa clip)
C3 (“AntiSystem’s”, “Aishite Aishite Aishite”, “Bocca della Verità”, “deep coma”, “Friend Like Me” 2021/11 stream, “Imo Demo Iijan”, “I’m a Controversy” Nippon Budokan 2023/08/30, “Overdose”, “Padoru” 2021/11 stream, “Ready Steady”, “Takoyaki Rainbow” Ado sense clip)
B2 (“Baka”, “Hello Signals”, “Motherland”, “Tokyo Cannibalism”, “Villain”, “Zeitakuna Kuchidoke” Minecraft stream)
B♭2 (“DOLL”, “Rebellion”, “Show” Explaining how she sings the song)
A2 (“Backlight”)
G♯2 (“Bokusatsu Tenshi Dokuro-chan” 2021/11 stream, “Show”)

SPOILER: Click to show

{Questionable Notes (45)}

B♭6 (“Chocolat Cadabra” ^[1], “Show” NTV Best Artist 2023/12/03 + FNS Kayousai 2023/12/06 ^[1])
A6 (“Show” ^[5])
G♯6 (“Backlight” Saitama Super Arena 2022/08/11 ^[3], “Villain” ^[1])
F6 (“Love Trial” ^[5])
E6 (“DOLL” ^[3])
E♭6 (“Baka” ^[1], “Ego Rock” ^[1], “Uminaoshi” ^[1])
C♯6 (“Bad Dance Hall” ^[1], “Chocolat Cadabra” ^[1], “Readymade” ^[1])
C6 (“Kirai, Kirai, Jiga Hidai!” 2018 Take ^[1], “Odo” Kyougen version ^[1])
B5 (“Tsukema Tsukenai” ^[1])
G5 (“Liar Dance” ^[1])
F5 (“Bunny” ^[1])
E5 (“Bad Dance Hall” ^[1])
E♭5 (“Doting” 2017 Take ^[1], “Fixer” Karaoke ^[1])

E♭3 (“Binks no Sake” ^[1], “Odo” ^[1])
D3 (“Radio Noise” ^[1], “Tot Musica” ^[1], “Uninterrupted Indigo” ^[1])
C♯3 (“Ashura-chan” ^[5])
C3 (“Accident Coordinator” ^[3], “Doting” 2019 Take ^[1], “Call Boy” ^[3])
B2 (“I’m a Controversy” ^[3], “Otome Kaibou” ^[1])
B♭2 (“Shikabaneeze” ^{[5 - Probably a really undershot C♯3]})
A2 (“Motherland” ^{[5 - Implied but doesn’t seem to be there, same goes for harmonies with B♭2]}, “Shikabaneeze” ^[5])
G♯2 (“Fleeting Lullaby” ^[4])
G2 (“GAL” 2022/07/03 TikTok Video ^[5])
E2 (“bin” ^[4], “Show” ^{[5 - Intentional vocal fry, but with arguably incidental pitch]})
E♭2 (“Love ka?” ^[5])
D2 (“Overdose” ^[5])
C♯2 (“Bokusatsu Tenshi Dokuro-chan” 2021/11 stream ^{[5 - Pitch is strong but too all over the place in my opinion]}, “Show” ^[5])
B1 (“bin” ^[1])
G1 (“Bocca della Verità” ^[1])

^[1] marks yelps and short trills in high range or anacrusis and short dips in low range.
^[2] marks notes of questionable identity that cannot be confirmed to be the singer in question.
^[3] marks non-melodic notes that don’t have a significant enough pitch to warrant inclusion.
^[4] marks notes that possess uncertain pitch or have been pitch-shifted.
^[5] marks notes that have insufficient tone and/or little support (very throaty and weak sounding).

SPOILER: Click to show

{Notes That Big TRP Doesn’t Want You To Know About (4)}

E♭6 (“UMI-CHAAAAAN” And other various screams of hype at C6 later on)
E5 (“YAMEROOO” Odo at Saitama Super Arena 2022/08/11 self-reaction)
D5 (“UWAAAAAA” Usseewa (Piano Ver.) self-reaction 2023 ver.)

C1 (“anooo…”)

952 notes

SPOILER: Click to show

{Albums Ranges}

2022/01/26 - Kyougen: B2 - F3 - G♯5 - F6 - C7
2022/08/10 - Uta no Uta ONE PIECE FILM RED: A2 - C♯3 - B♭5 - B5 - E♭6
2023/12/13 - Ado’s Utattemita Album: B2 - C3 - D3 - C♯6 - F♯6 - G♯6 - G♯6

Black marks chest, head voice and mixed notes.
Blue marks falsetto and whistled notes.
Green marks harsh, distorted vocals.
Grey marks fry and subharmonic notes.
Underlines mark backing vocal notes and notes obscured in the song mix.
Italics mark non-melodic and intentional spoken notes.
Boldface marks notes that are considered to be particularly notable examples of this person’s vocal capabilities.

Many thanks to Jerry, administrator of the Ado Hangout Discord server, for providing me with a complete master list of Ado’s original songs, covers and collaborations, as well as a playlist with more sung material from her (karaokes, livestreams extracts, commercials etc). Of course, my acknowledgements also go to all the people in the fandom who collaborated to this master list and playlist, including fans who sent me other videos/links and gave me song titles when I couldn’t find them. It made the research of this thread immensely easier for me and I really wouldn’t have made this complete and this quickly without them!

[Macca]

Is there a closer up image of her?

[Electric Mami]

She never revealed her face so live pics are all like that

[haeksk（ハクサク）]

omg the b6 scream is crazy
I always thought her highest was G6 in god-ish because that's what Sirasuta said it ascended to in his god-ish breakdown LOL (but I see you put it as F#6... btw is there a reason to include D6, E6, and F#6 for that??? Isn't just D and F# fine?)
Also didn't know of any notes under C#3... I didn't think about pitching that fry dip in Show, but shouldn't that be italic? I'm also curious about the other second-octave entries and what they're like

Probably also the Odo F6 is exclaimed too right?



On the Shikabaneeze F#5 bold, she does harmonies and then there's a C#6 behind it, but you didn't list that btw


The dignity live note omg??? she ate

Very good thread

[Electric Mami]

Hey thanks for the compliments and feedback!

So for “Godish” yeah the G6 actually peaks at F♯6, but I find the long D6 more impressive than the peak at F♯6 personally, and the E6 is in another passage (second verse). I feel like for the “Show” E2 she was aiming at that pitch since it's more E2 all the way instead of a random dip to E2, but I see why you'd consider it as non-melodic.

For the other second octave notes:

The B2 during “Tokyo Cannibalism” is during the same passage as the bold E3, she reaches it twice, as part of the melody. For “Baka” I actually only heard it when removing the instrumental because I wasn't sure if she did make it down to B2 with the instrumental: voca.ro/1qJR09b6OfYa (very first mora). For the B♭2 I linked the video next to the note, it's when she talks about the second verse (she does a quick B♭2 before dipping into fry on the "teeki Show" at 16:30). I could've italicised it but I preferred to keep "rapped" notes like that as melodic for this thread). For the fry A2 in “Shikabaneeze” it's at 1:02, good tone and intentional (she even tried reproducing it in the Campanella live Blu-ray, so it wasn't a quick dip in range, rather a separate and intentional note) so I counted it.

The “Odo” F6 yeah it's exclaimed but it wasn't an aimless "AAAW" and it was in the key of the song, so I've kept it as melodic. More generally she's the specialist at making intentional range jumps as part of the melody lol. I only put the "woo's" and outright shouted notes for non-melodic. And the harmony during the bold “Shikabaneeze” F♯5 is a C♯5 actually～

And yes the “DIGNITY” live F♯6 is sooo good, truly caught me out of guard, I thought I had seen everything and then she comes with a whistle never heard in any cover/collab/original song before, amazing

[BAZanine]

I also think the E2 is non-melodic, and moreover I probably wouldn't count it.

[Electric Mami]

I can pass it as non-melodic but I honestly don't see anything wrong with it, the tone is strong and it's not the kind of unsupported fry note either

[BAZanine]

Gotta disagree with you there; I think the tone's pretty weak and that the pitch is just barely grazed. Perhaps we could use some more opinions.

[sylvia!!]

I'm on the fence about it being counted but I think that the pitch is pretty solid, just the brevity that makes it feel worse than it is

that being said the brevity does somewhat go against it

[Baronessa]

Based on what I'm hearing I have not a doubt in my mind that she couldn't reproduce a sung E2 if she tried. Maybe I'm wrong, but if a note like that exists we might as well count that instead.

[Electric Mami]

I'd be willing to discuss the issue of reproducing threshold notes but that would off topic to do it here; in short I would say the same could be said for so many notes and it isn't easy finding a consensus about it. In Ado's case I'd tend to be more forgiving because it fits the character that she'd experiment with fry and do an E2 in a song. If the note dipped from or to E2 I definitely wouldn't have been as forgiving of course, but since the pitch is consistently E2 for the "chau", I think she was able to master fry sufficiently to avoid dipping or at least keeping a sufficient amount of control over the pitch for that take, and therefore that she'd be willing using fry as such again since it isn't her first intentional fry note (and probably not her last either)

[Baronessa]

I don't think the pitch is consistently on E even remotely, it's not like that note is an overshot E♭2 or anything, but there's a couple of other things I tend to consider with these kinds of notes:

1. Would it actually matter if you sung that note faithfully to the original, for example, in a cover? Is it imperative that that note is an E2 and not some other fry note?
2. Would you recognise that E2 as part of that particular song if you heard it in any other context? Would you believe anyone doing a similar fry note claiming that they're "doing that Ado E2 from 'Show'"?

I would say the answer to both of those points would be 'no'; to me that fry note just reinforces the rowdy-bitch-attitude in that song, which is of course cute and valid but doesn't really convince me that E2 specifically is a relevant part of her vocal range. Other people might reasonably say 'yes', but I think at that point we might want to look at whether we want to consider counting some of Britney Spears' fry notes because she's experimenting with different vocal textures.

[Electric Mami]

Woops, wasn't planning to write this much, but I can't help making developed points

Nov 14, 2023 21:51:33 GMT Baronessa said:

I don't think the pitch is consistently on E even remotely, it's not like that note is an overshot E♭2 or anything

At the very least for the most part it's intelligibly on E2 to my ears, and I find it stable enough. Like, it doesn't dip into the nothingness, it lands nicely on E2. If it was an E♭2, it would've been in the song's key, and the melodic and intent would've been more obvious, of course. But who knows, for how close it is, maybe she did try to go for E♭2 but didn't manage to make it down there, so she went as close as she could? I wish she mentioned something about it in the video for her breakdown of the song, but instead she used fry in a careless when coming to this passage (in the video, that is).

Nov 14, 2023 21:51:33 GMT Baronessa said:

1. Would it actually matter if you sung that note faithfully to the original, for example, in a cover? Is it imperative that that note is an E2 and not some other fry note?
2. Would you recognise that E2 as part of that particular song if you heard it in any other context? Would you believe anyone doing a similar fry note claiming that they're "doing that Ado E2 from 'Show'"?

To 1 I would answer no, not E2 specifically, but at least its whereabouts (say, F♯2-E♭2 range). Personally if I had to cover the song I'd try to take a similar tone and go for E♭2, because it's just a semitone away and would be in the key of the song. But that's just me, so at least, I would say it matters to make a clear and controlled low fry note in that region if that makes sense? Like, maybe that's just me, but randomly dropping into the nothingness in fry wouldn't work as good or not doing fry at all would feel like something's missing to me. However I feel like marking the note as non-melodic kind of already answers the problem of specific pitch reasonably.
To 2 mayyybe? I don't have any particular example of fry note (note alone, as opposed to a passage with said note) that I would recognise if someone did it, but if someone tried making a really low and clear fry note and said it's from an Ado song I would answer it's from "Show" without hesitation. Of course it's not like she has dozens of fry notes, but that particular note has a more identifiable texture, to me.

Personally, when coming across a fry note, I mainly go by tone (not only of course), but when I start hesitating on fry notes I try to take a step back and think: can I tell the pitch easily, or do I have to really repeat the passage dozens of times to hear some kind of weak tone? Two extremes, of course. But if I can outright tell the pitch without any difficulty, which I can for this E2 (I specifically remember playing it a second time to make sure I heard what I thought I heard), it means the note was executed clearly and nicely enough for the pitch to be easily intelligble, for me at least. Then yes, I try to hear if it actually sounds controlled, if it isn't a slip or an accident, if it's well supported (as in, does it sound "flat" with rather incidental tone), and if the mix isn't tricking me into seeming it's better than it actually is etc.

Nov 14, 2023 21:51:33 GMT Baronessa said:

to me that fry note just reinforces the rowdy-bitch-attitude in that song, which is of course cute and valid but doesn't really convince me that E2 specifically is a relevant part of her vocal range

Oh yeah it does, it serves the second verse in particular, that's part of why I think it's relevant mentioning, but I totally understand that this simple fact doesn't advocate the note much for you. To me, the context makes the note's execution more "logical".

Nov 14, 2023 21:51:33 GMT Baronessa said:

Other people might reasonably say 'yes', but I think at that point we might want to look at whether we want to consider counting some of Britney Spears' fry notes because she's experimenting with different vocal textures.

I… don't know her vocals nearly enough to talk about it . But I'd say, if she uses fry often enough as something that isn't accidental but more of a stylistic choice that she more or less controls with an intent of creating a pitch with that, I'd say to at least consider mentioning it, countable or not, even if most if not all notes end up being questionable. For instance on my thread for HARUNA from SCANDAL, I didn't mention that short fry G♯2 (?) in “MIRROR” because it is like the only fry note with (barely) intelligible pitch in SCANDAL's entire discography and live footage I went through. Maybe she was aiming for a fry tone on that take, but since she didn't ever reproduce attempted reproducing it live on top of my head, this note clearly doesn't "matter" as a part of her vocal range, not even as a questionable note. It also clearly wasn't with the intent of producing strong pitch; it was more of a toneless noise, if you will.

On the contrary, in Ado's case, it doesn't seem like it's aimless and accidental (to me at least), but more aiming for a specific sound with a specific technique with as strong as possible pitch, and to me it sounds like a nice attempt. Again, I feel like the note being marked as non-melodic already answers the issue of the specific pitch, since to me, the tone is strong and confident (but it seems we even disagree about it being either pretty weak or strong, no in-between). More generally, let's say and agree it's not super strong, I honestly don't think it's that bad of a note, nor that far off from what she would be able to/want to produce reliably, and we've seen worse candidates for fry notes that made the cut, if we talk about tone (probably for different reasons, but to me tone matters the most to the condition of it being intentional and supported). No need to repeat how I hear the note now, I think I've said it enough times now lol

It seems it's mostly a matter of perception of the note at this point, and I promise I don't want to seem like I absolutely want to defend the note with bad faith, but I am genuinely confident with considering that note as part of her countable vocal range, because she seems more willing using fry as a part of techniques and her range from what I gathered when notewatching her chronologically. And don't get me wrong, I do hear your arguments, you're not talking for nothing, and I did take your advices in consideration while thinking about this note and will also think of them when notewathcing in the future, because I trust you as well as BAZanine and Platypus, who agree with you; but yeah, I just feel like the note is still defendable despite these fair points, from my point of view.

[IhateMana]

en.wikipedia.org/wiki/ADO_Den_Haag

[haeksk（ハクサク）]

I'm still thinking the E2 is a no, unfortunately... it's cool, but it really just isn't melodic, and there's a big gap between that and the A2 above it. It's a good note, but not good enough of a note to justify such a large range gap.

By the way, I listened back to it a few times and the A2 doesn't really seem that intentional in pitch; even though it sort of lands in key and is strong enough, I didn't interpret it as a note at all at first and just a brief fry dip. If I was making the thread, I'd mark her Tokyo Cannibalism B2 as her lowest because it's repeated, clearly melodic, and the most controlled while still slightly lying on fry, but that is my personal preference.

[Døc]

I'm not particularly a fan of the A2. The E2 i feel is passable, but the A2 is just... bad.

[senatorsenpai]

Nov 11, 2023 14:51:44 GMT BAZanine said:

Gotta disagree with you there; I think the tone's pretty weak and that the pitch is just barely grazed. Perhaps we could use some more opinions.

Agreed! It sounds to me like pure vocal fry and more of a stylistic inflection than a usable or notable part of her range.

Can anyone give timestamps for the tracks with A2 and B♭2?

[Electric Mami]

Nov 15, 2023 6:53:44 GMT haeksk（ハクサク） said:

I'm still thinking the E2 is a no, unfortunately... it's cool, but it really just isn't melodic, and there's a big gap between that and the A2 above it. It's a good note, but not good enough of a note to justify such a large range gap.

I don't think a 4 semitone-range gap is a problem honestly. If it was, Alexi Laiho's B♭1 wouldn't be counted. His second lowest note counted is B♭2, the counted B♭1 is very fry-ish, and when looking at his thread, we can't say it's a note or technique he has often dealt with either. Comparatively, Ryuuichi Kawamura's thread has a screamed 6th octave note in the questionable notes section. If it was counted, the range gap with his second highest counted note would be of 9 semitones (F5-E♭6), but also, the note is his only scream indexed, making his actual control over the technique dubious. Same could be said about Laiho's B♭1, but it just is a strong note (stronger than Ado's E2, granted), so that's enough to count it for some, maybe not for others, and that's valid to disagree. We've seen other examples of range gap that have been justified by the singer hitting the note in a sufficient quality and in a technique that's not unique to said note in the past, so the range gap doesn't really apply to the E2 here.

I'll tell you a fun fact: when I started notewatching Ado, I wasn't organised at all. “Show” was the third song I notewatched, and when I came across the E2 and was like "I mean it's good, but that's like the only fry note I came across and the range gap is huge" (it was like E♭3-E2 at the moment I think). Same with the B6, it was the only proper scream I came across (there was the A6 before the first verse of “Show” indeed, but it's more squeaked than her other screams), and the range gap was F♯6-B6, so it wasn't looking good at all. Then I started notewatching her chronologically, the gaps started being filled, and I came across an increasing number of fry notes and 6th octave screams as I went closer to October 2023, which, for me, certified that she's using these techniques intentionally and is willing to use them more in the future (probably to fill gaps even more) and makes me confident with the countability of these extremities.

Nov 15, 2023 6:53:44 GMT haeksk（ハクサク） said:

By the way, I listened back to it a few times and the A2 doesn't really seem that intentional in pitch; even though it sort of lands in key and is strong enough, I didn't interpret it as a note at all at first and just a brief fry dip.

I mean if it was a brief and accidental dip, it'd be exactly like the sentence that preceeds the A2 and starts the passage, so we have a direct comparison of a brief dip and aimless into fry vs intentional use of fry from Ado here. The note is detached from the rest of the word because it is supposed to be properly executed as part of the melody.

Ultimately, what more would you want from a non-melodic fry note other than intent and having clear tone to count it? I get it, maybe this pitch specifically isn't aimed, but if it's that much of a problem, I wonder why we can even count non-melodic notes to begin with. If the reason is that it's because they must have strong and sufficiently pronounced tone and intent to be counted, then I feel like the E2 falls in that case and I see no further reason to worry. So in my opinion, having to look further than intent, sufficiently recurrent/coherent use of the technique and strong tone to question a note because it is fry (and I know fry is contentious), means that maybe the note isn't that questionable.

Only issue would be if the fry's pitch sounded incidental due to a lack of support and characterised by a very "dry" and "hollow" tone. Not sure how to describe it otherwise, but here's an example that comes to my mind: youtu.be/rejNP5y85o0?t=320. We can hear the lack of support by how creaky the note ends up being, which isn't how I hear the E2 nor the A2 here. And coming back to an earlier argument, if she wasn't trying (much like Kyo isn't even trying to have some tone on lots of his fry notes, I noticed), there's no way the tone would've been nearly this strong, especially down to E2. Now as I stated earlier we don't even agree on the tone being either strong and confident, either pretty weak and inconsistent, and I don't know what I can do about the latter other than respecting and understanding different perceptions, but disagreeing.

Nov 15, 2023 15:23:24 GMT senatorsenpai said:

Can anyone give timestamps for the tracks with A2 and B♭2?

The B♭2: youtu.be/8BU6LMzMquU?t=989 (on the "teeki SHOW" - marked as melodic because she's just rapping slowly here and I consider rapping as melodic in this thread)
The A2: youtu.be/-yl6v5ezpuo?t=61

Notice how the fry dips on the passage with the B♭2 are far weaker and completely aimless in pitch compared to the A2 and the E2. That here is more like the kind of aimless creaky fry I talked about above, but to me it is nothing like the A2 and the E2 really. You know how sometimes we'd relunctantly count some notes? Well, what I would feel uncomfortable with is to not count it E2, it just doesn't feel right for me. With the forays into fry she has demonstrated, I could totally see her sing/rap using fry in a mindful way later on, so I think it is an usable and notable part of her range. Maybe I'm just really hyped about the development of her vocals, but with what I heard, it sounds absolutely plausible to me.

(so true Mana)

[IhateMana]

i'm gonna be real and admit that I hear that E2 as 3rd octave and with all the necessary respect, it would not have found its way into my thread

[senatorsenpai]

Nov 15, 2023 18:46:14 GMT Electric Mami said:

Nov 15, 2023 15:23:24 GMT senatorsenpai said:

Can anyone give timestamps for the tracks with A2 and B♭2?

The B♭2: youtu.be/8BU6LMzMquU?t=989 (on the "teeki SHOW" - marked as melodic because she's just rapping slowly here and I consider rapping as melodic in this thread)
The A2: youtu.be/-yl6v5ezpuo?t=61

Notice how the fry dips on the passage with the B♭2 are far weaker and completely aimless in pitch compared to the A2 and the E2. That here is more like the kind of aimless creaky fry I talked about above, but to me it is nothing like the A2 and the E2 really. You know how sometimes we'd relunctantly count some notes? Well, what I would feel uncomfortable with is to not count it E2, it just doesn't feel right for me. With the forays into fry she has demonstrated, I could totally see her sing/rap using fry in a mindful way later on, so I think it is an usable and notable part of her range. Maybe I'm just really hyped about the development of her vocals, but with what I heard, it sounds absolutely plausible to me.

(so true Mana)

Thank you for sharing! Yes I agree that the B♭2 clip sounds clear enough. But IMO that example of A2, together with the other "dips" you mentioned in the B♭2 clip, are as unremarkable as the alleged E2 clip.

[Baronessa]

I have to say I did hear like A2 for that fry at first and not E2, but I figured it didn't matter all that much since I didn't think it would be countable regardless of which note it was. I can see why it would be an E2 at least.

Anyway,

Nov 14, 2023 23:36:31 GMT Electric Mami said:

But I'd say, if she uses fry often enough as something that isn't accidental but more of a stylistic choice that she more or less controls with an intent of creating a pitch with that, I'd say to at least consider mentioning it, countable or not, even if most if not all notes end up being questionable.

Thing is, this is exactly how I hear this E2. It's not an accidental fry by any stretch, she clearly meant it to be fry, but what matters in that passage the most is the contrast between the B♭4 and the E2. It works that it is a relatively emphatic fry, yes. The point I'm driving at here, though, is that while the technique is intentional, the pitch is at best incidental. As little as I know about vocals from a physical standpoint, I'm fairly certain that this is a fry supported mostly by the throat. You can make those kinds of tones sound loud, but you have very little control of the actual pitch when you do fry like that. This is purely conjecture, but that is how I'm assuming she achieved that note going by my own experience with making those kinds of noises.

As far as being illusioned by the mix goes, I think that note is compressed quite heavily and as you know that will create the illusion of it being a lot stronger than it is. But I don't think that point particularly matters if the pitch itself is given adequate relevance in the vocal arrangement. A weak or breathy low note would still be countable to my ears if the singer is suggesting with their melodic choices that the pitch matters. And I suppose that's really the crux of my argument here. Any vocal arrangement consists of a combination of suggestions about the nature of the intent of each note. To me Ado's vocal here suggests to me in clear enough terms that, while that note might be E2, that is a negligible fact, a natural component of making any kind of sound like a dog barking or a door creaking.

It is worth mentioning in questionable notes for sure, and questionable notes aren't meant to be a death sentence to notes anyway. The spoiler is a useful tool for denoting techniques which are unknown to us, and notes which are unclear in intent or pitch, but which are regardless part of the singer's usual style. Even if we were to spoiler it, that wouldn't mean that she can't hit that note per se, it just wouldn't be considered part of the more conventional standards by which most people understand vocal range. That is, being able to arrange vocals and hit the notes in that arrangement. As it stands, to me it would be fairly unprecedented for her to think about an E2 and consciously go about hitting it.

[Platypus]

I very much agree with Sawyer's assessment here, and I think her post explains the situation exceptionally well. Being that this thread has been seeing a lot of discussion as of late, I'd also like to include some of my own perspectives, as I think I might have some important insight on the countability of notes like these.

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TL;DR: don't count the E2

[Electric Mami]

Nov 16, 2023 3:13:14 GMT IhateMana said:

i'm gonna be real and admit that I hear that E2 as 3rd octave and with all the necessary respect, it would not have found its way into my thread

I'm pretty sure it isn't 3rd octave. I kept comparing it to E3's, higher 2nd octave notes (than E2), compared it to subby fry notes, singing it as E3 and E2 myself at the same time as the “Show” note, and I just can't hear it as anything else than E2, even trying hard to hear any other fundamental note. Especially comparing it to the descent earlier in the verse that goes C♯3, B2 (that I mispitched as C3 in the thread) and G♯2, I really don't hear it any higher than the G♯2, and that G♯2 also isn't any higher than the C♯3 nor the B2. But thank you for giving your point of view nonetheless!

In case anyone would like to check the descent I mentioned by themselves, it's at 1:38 in “Show”, on the sentence that goes "Kurai gekijou teki shiyou", with the C♯3 being on the "Kurai", the B2 on the "gekijou", and the G♯2 on the "teki shiyou". Pretty sure the G♯2 was cut manually in production to leave space for the "Exotic voice" right after it though.

Nov 16, 2023 15:14:03 GMT Platypus said:

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Alright, thanks for the comments and for taking the time to give your points of view everyone, particularly Baronessa . I must admit I've been scared to click all day when I saw 4 new comments had been posted since my latest answer lmao. To be very honest I still have my own point of view on the note, but I don't want to be negligent that TRP is a community and that therefore, there should be a relative consensus whenever we start debating on a note, or another aspect of a thread. I'm gonna need to take some time to take a step back on the situation and take a thoughtful decision on the E2 while considering everyone's points of view.

[Electric Mami]

Me when I edited the thread:


I feel more comfortable with editing the thread now despite my disagreement. For the “Shikabaneeze” A2, I think [5] is a fitting reason to pass the note as questionable. I don't think the tone nor the fact that it is fry makes it questionable, because it could be questionable even as a chest note. I still believe that Ado did mean to execute it exactly like that as part of the melody and that it works and "counts" though, but I don't feel like battling further to be honest lol. As for the E2, I wrote [5 - Intentional vocal fry, but with arguably incidental pitch], which sums up the debate around it. I mentioned "arguably" to acknowledge that there were some disagreements. In case further debate must occur around the E2, I've kept the link attached to the note in the spoiler.

The G♯2 that's earlier in the second verse of “Show”, part of a controlled descent that goes C♯3 - B2 - G♯2, and more solid than the E2, though short (but not due to the note's execution), was counted.

[haeksk（ハクサク）]

New Ado album is out (collection of covers)


Haven't listened to them all, but Aishite Aishite Aishite has melodic + phrased G#6 background vocals(!!!!!)
The last chorus has a lot of it sang the octave up in the back.


youtu.be/U8BlNEKq0r8?si=rPVcjNEjSeBILBH-

Reaches G#6 at these points:

3:02 ("gomennaSAi")
3:26 ("shiawase NA no")

Her highest melodic notes, if I am correct.

I'd replace that current blue G#5 Aishite bold with a black or green G#5 from the new studio version, by the way

ALSO also: some Japanese researchers independently discovered the Show exclamation you wrote as B6 and identified it as a Bb6, so it might be time to measure it more exactly and be sure.