For my army of vocalists. Might seem kinda cruel, but this is just a technical evaluation, more so than an indictment on my overall liking and enjoyment of their music. Feel free to challenge my opinions or whatever:
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Clarence Clarity: D- (Barely utilized, very thin though that is his tone naturally, he sounds capable enough in the 2nd octave for a mid-high tenor [point of reference: speaking voice] but doesn't really push himself at all)
Kelsey Grammer: A (Rich and strong baritone lows, some fantastic F2s, a lot of potential lower into the 2nd octave)
Sam Endicott: B-/B (Not utilized that much but sounds strong enough down to E2, has some pretty comfortable upper to middle 2nd octave passages)
Hannes Norrvide: D (Pretty meh Bb2s for a baritone and that's the lowest he's gone, good enough lower 3rd octave)
Charlie Day: F (Yeah...)
Julian Casablancas: B+ (Consistent upper 2nd octave vocals throughout his career, kind of a drop off after F#2 but around that area he's solid + there's a boldworthy E2 in there)
Dave Gahan: B (Strong, heavy bellowing in full force down to A2, sounds decent enough into the middle 2nd octave but rarely goes below G2)
Martin L. Gore: A- (A bit underutilized on his DM output since he usually takes on higher backing harmonies but consistently used on solo material and surprisingly strong and well controlled down to the lower 2nd octave, more so than the heavier voiced Gahan)
Robert Alfons: B+/A- (Highly emphasized lows, helped by a weighty tone and a highly comfortable middle 2nd octave, with entire verses around E2-G2. Can sound pitchy and untechnical, but that applies to all parts of his voice [also extremely nasal, if that's worth mentioning as well])
Michael Hutchence: B (Solid amount of unemphatic, whispery yet smooth vocals across the entire 2nd octave, some strong notes as well in the upper to middle 2nd octave)
Joe Casey: B- (Decent amount of usage, not the strongest but has strengthened over time, capable into the middle 2nd octave)
Tim McIlrath: E- (Very scarcely used, lackluster tone, totally unremarkable)
Mark Morrison: E- (Barely utilized, weak tone, not too terrible considering his placement but nothing to show for really)
Brittany Howard: A- (Slightly underutilized but grows stronger over time with tenor-like lower 3rd octave notes, including scarce but modestly capable sounding upper 2nd octave notes)
Alex Kapranos: A-/A (Dark and full sounding lower register down to the middle 2nd octave; a bit pitchy and not much use below that but god, does it sound sexy...)
Chris Corner: D+ (Received a decent amount of use considering Chris' placement and somewhat thin sound in this part of his range. Strong enough down to about B2, weakened and all but vanished around G2. Less frequently used in more recent output)
Brent Smith: C+ (Not a very utilized part of his range but sounds naturally comfortable down to the upper 2nd octave. Somewhat capable notes down to D2, but again, scarce)
Ezra Koenig: B- (Pretty consistently used. Nothing mind blowing or very low but used well enough; several solid upper 2nd octave notes and has a relatively strong G2, so perhaps there's untapped potential in there?)
Eddie Murphy: C (It's fine when it's there occasionally. Can use a faux-baritone vocal style with decent upper 2nd octave notes [or just stay on F2 consistently in his softer natural tone], but not much to really display)
Lyrics Born: A+ (Naturally strong lows. Strong projection for entire verses in the middle and lower 2nd octave like it's nothing. Can touch on the upper 1st octave with tone, as well. Good sense of pitch/melody for low-pitched rapping)
Luke Jenner: E (Almost non-existent lower register, even considering he is quite a high placed vocalist, though all things considered, he sounds fine enough in the lower 3rd octave on all 4 songs he has used it on. Has a brief but decent Bb2 as his lowest note)
Camila Cabello: C+/B- (Inconsistent low notes; sometimes sounds surprisingly strong into the lower 3rd octave, other times fizzles out below F3. Decently strong tone in her lower register considering her soprano placement)
Rick James: C+ (Had a weighty tone for a tenor and potential for lower 2nd octave notes, but his lower notes were usually brief sung-spoken parts bottoming out at the middle 2nd octave. Consistent lower register, but not very remarkable)
Michelle Zauner: B- (Does well enough considering her very high placement. Some capable passages down to the middle 3rd octave, D3 is her lowest note, and it sure sounds like the very bottom of her range)
Glenn Jones: D- (Basically disappears in the upper 2nd octave. Some pleasant lower 3rd octave notes. His placement is quite high, but even still, his lower register feels mostly unremarkable)
Bernard Sumner: B- (Consistently used part of his range, sounds decent as low as it is used [the upper 2nd octave] with a few particularly strong moments)
Pelle Almqvist: B (Sparingly used but shockingly potent when it is, down to the middle 2nd octave. Feels somewhat disconnected from his usual singing style)
BENEE: D+ (Consistent enough upper 3rd octave, usually sounds fine down to G3 but largely drops off beyond that. Who was comparing her to Nico again?)
Sebastien Grainger: D+ (Sparingly used, especially to its full potential, though he has made a few fine upper-to-middle 2nd octave displays)
Jim Jones: B (Not used much but has received more exposure with more recent material, boasting capably strong notes in the middle-to-lower 2nd octave)
Greg Dulli: B- (Lower register has received a fair amount of use (mostly down to the upper 2nd octave); can sound hushed but tonally dark and controlled, at times into the middle 2nd octave)
Isaac Brock: A+ (Has developed an excellent grasp of the 2nd octave, several strong lower 2nd octave notes and can even do well into the upper 1st)
Stephin Merritt: S (Definitely helped by his naturally low placement, effortless middle 2nd octave singing and several strong notes down to the upper 1st octave)
Shamir: A- (While possessing a mezzo soprano voice, makes considerably better usage of low notes than many lower placed singers; several solid lower 3rd octave passages and capable sounding upper 2nd octave notes)
Philip Oakey: B (Consistently good upper 2nd octave notes, a few shockingly strong middle to lower 2nd octave notes during the 80’s and nothing around that area since)
ROSALÍA: B- (Consistent upper to middle 3rd octave; several surprisingly strong lower 3rd octave moments but used irregularly)
Kele Okereke: B (Consistent lower register; has developed stable, decent middle-to-lower 2nd octave notes)
Santigold: B (A bit underutilized; consistently strong middle 3rd octave, a few emphatic notes down to the lower 3rd octave, sounds fine in the upper 2nd octave)
Charlie Wilson: C (Good enough into the upper 2nd octave but not very noteworthy or utilized much)
Jessie Buckley: C+ (Not all that noteworthy but shows potential into the middle 3rd octave [also, can definitely B2])
Sharon Jones: D+ (Serviceable but with no noteworthy moments, sounds fine enough up to the middle 3rd octave?)
King Floyd: D (Imagine Charlie Day but with slightly more low register abilities. Weak but fine enough C3s, rather frail sung-spoken G#2s, something like that)
Hector Lavoe: C (Some tonally solid lower 3rd octave notes, a bit of a drop off below that save for a decent A2, pretty weak G2 as his lowest note)
Neil Fallon: A (Deep, weighty lows, including a couple of strong, consistent passages and notes in the lower 2nd octave. Can enter the 1st octave. Does have a couple of albums with virtually none of these lower notes)
Emily Breeze: S (Strong contralto voice that makes E3 sound shockingly easy. Several stable upper 2nd octave moments. Could reasonably go below G2)
Cove Reber: D+/C- (Fairly high-placed on the tenor spectrum; has some serviceable, if not all that potent lower 3rd octave notes, a fine enough B♭2)
Corin Tucker: B (Began with a very underemphasized lower register (D or E tier worthy up to the 2000’s), but has developed surprisingly strong and stable lower 3rd octave passages and notes, can touch upon the upper 2nd octave)
CeeLo Green: B (Despite his high placement and softened tone entering the 2nd octave, he has made rather consistent use of his lower register and done shockingly well even down to C2 [considering his voice overall])
Gibby Haynes: A- (Not as emphasized as his upper register, but with remarkably strong and stable displays of lower 2nd octave and upper 1st octave notes, even taking up full passages in a few songs)
Alan Vega: C+ (Consistently used part of his range. Nothing much to say in terms of emphasis or strong moments or pitch control, but sounds capable enough into the middle 2nd octave, if a bit hushed)
(also sorry Bink but I would also like to consider Alan as one of my own singers)Hailee Steinfeld: D+ (Fine enough but unnoteworthy, falls off past the upper-middle 3rd octave)
Glenn Howerton: C (Hasn’t gotten to use it much but sounds fine at E2, could probably use that part of his range well)
Rob McElhenney: C (Hasn’t gotten to use it much but sounds fine at G2, could probably use that part of his range well)
Nick Mullen: B+ (Consistent middle 2nd octave notes, surprisingly good tone and pitch control considering he’s basically just messing around whenever he sings)
Celia Cruz: B- (Somewhat underutilized but naturally weighty middle-to-low 3rd octave notes and passages [as far as I’ve heard])
Ben E. King: C+ (Odd case of a singer whose lower register noticeably weakened over time. Displays some decent faux-bass middle to lower 2nd octave notes early on, remains capable enough in the 2nd octave but with much less frequent/emphatic usage)
Calvin Johnson: S (One of the strongest bass-baritones out there [well, outside of classical music], projecting lower 2nd octave notes and capably and expressively performing entire verses and songs in that part of his register alone. Has some decent upper 1st octave notes. Slightly pitchy
but ehhh who gives a fuck)
