Baritone saxophone
- Range
- C2–A4
- Overtones to
- about 5 kHz
- Peaks up close
- up to 113 dB SPL
- Sources
- 118 independent: not from a mic maker
Range
C2 to about A41265.4 Hz – 440 Hz
E-flat baritone with low-A key; sounds an octave and a major sixth below written (written A3-F#6). Without low A: Db2.
| Low | C2–E3 | huge, buzzy |
|---|---|---|
| Upper | F3–A4 | firm, horn-like |
| Altissimo | Bb4–E5 | thin |
Written registers: low B-flat3-C#5 (no octave key), upper D5-F#6 (octave key), altissimo above; converted to sounding pitch. Boundaries are the usual fingering split, not a sharp change in tone.
Overtones reach about 5 kHz (the highest harmonic within 40 dB of the strongest, at a moderate level; louder playing reaches higher)13.
The sound
The fundamental is well below the strongest harmonics (here 13 dB under the 3rd); energy stays high up to many harmonics, giving the buzz.
Where the sound goes
Bell and tone holes together; Ross's "bell/tone hole blend" and aim point between the bell and the left hand say so.5
How loud
Sound pressure level measurements as published. Different kinds of figure (a playing level, a peak, a dose at the player's ear) can't be compared with each other, and neither can figures at different distances.
| Playing level | |
|---|---|
| 75–110 dB | at 3 m; UK Sound Advice table of representative noise levels, row 'Saxophone' (single musician) secondary14 |
| Peaks | |
| 113 dB | not stated (peak column of the same table); UK Sound Advice table of representative noise levels, row 'Saxophone' secondary14 |
| Sound power | |
| 114.6 dB | maximum sound power level Lw (re 1 pW), no distance; Sengpielaudio table of maximum possible sound power, row 'Bass-Saxophon' secondary15 |
Only the one "saxophone" line, 75-110 dB at 3 m, peak 113 dB, in the Sound Advice table. Nothing specific to baritone.14
Recording it
Mics
- 27 setups from 11 sources, 8 of them independent of any mic maker.
- On top: the mics more than one source names for this instrument, in any role, the most named first. That is a count of sources, not our verdict.
- In the full list, each mic shows how many sources name it for that role, and how many of those come from a mic maker.
- Sennheiser MD 421 3 sourcesNamed, no placement given, close
- Coles 4038 3 sources, 1 from a mic makerRoom, close, named, no placement given
- Electro-Voice RE20 2 sourcesNamed, no placement given, close
- Neumann U 87 (U 87 i) 2 sourcesClose, named, no placement given
All the mics sources name, by setting and role (13)
Studio and stage
Named, no placement given
- Shure SM571 source
- Shure SM581 source
Close
- DPA 4006ES (variant of the DPA 4006A)1 source from its own maker
- Shure SM571 source
The 5 setups behind this: placement and quotes
- Spot one mic is not enough (type-level note)spot, away from the instrument
On larger saxophones like the baritone, one microphone cannot cover all the sound holes (paraphrase).
1 - Named, no placement given Saxophones advice Shure SM57
Pete Thomas calls the SM57/SM58 a great versatile mic that needs no phantom power (paraphrase).
2 - Close Saxophones advice DPA 4006ES (variant of the DPA 4006A)close, beside the bell on the player's right
The spot slightly to the player's right-hand side, next to the bell, is a good starting position.
1 - Close Saxophones advice Shure SM57budget, close
Most-mentioned mic in the thread (about 7 posters by my tally); aim more at the body of the sax for a warmer sound (paraphrase).
3 - Named, no placement given Saxophones advice Shure SM58budget
Mentioned about 3 times by my tally as the dynamic alternative (paraphrase).
3
Studio
Close
- Coles 40381 source
- Electro-Voice RE201 source
- Neumann U 871 source
- Rode NT11 source
- Sennheiser MD 4212 sources
- Shure SM581 source
Room
- Coles 40381 source
Named, no placement given
- Coles 40381 source from a mic maker
- Electro-Voice RE201 source
- Neumann U 871 source
- Royer R-1211 source from its own maker
- Sennheiser MD 4211 source
The 18 setups behind this: placement and quotes
- Close condenser or dynamic (type only)close, about 6 in from the bell, slightly off axis
Position your mic about 6 inches off the bell, slightly off-axis (baritone).
4 - Close Rode NT1 or Neumann U 87close, 12-18 in, between bell and left hand
The RODE NT1 is rapidly becoming my new weapon of choice for tenor and baritone saxes (as well as bass clarinet). ... Personal favorites include the Neumann U 87 condenser, the Electro-Voice RE20 dynamic, and the Coles 4038 ribbon (saxophones in general).
5 - Close large-diaphragm condenser or dynamic (type only)close, 12-18 in from the horn, aimed between bell end and left hand
Mic 12 to 18 inches away from the horn, aimed at a point equidistant between the end of the bell and the player's left hand.
5 - Room Saxophones advice Coles 4038room ambience must be good
Pete Thomas (saxophonist and producer): Coles 4038 is great for saxophones (paraphrase).
2 - Named, no placement given Saxophones advice Neumann U 87studio, listed among suitable condensers
Pete Thomas lists U87 and U47 among studio condensers suitable for sax (paraphrase).
2 - Named, no placement given Saxophones advice Sennheiser MD 421 or Electro-Voice RE20studio, listed as fine
Pete Thomas: RE20 and the Sennheiser 421 are fine for saxophone recording (paraphrase).
2 - Close Saxophones advice Sennheiser MD 421studio, close
Praised for smooth tones by two posters (paraphrase).
3 - Close Saxophones advice Neumann U 87 or Electro-Voice RE20 or Coles 4038 or RODE NT1 or Shure SM58distance, 12-18 in, aimed between the bell end and the player's left hand
A well-balanced portrait of the sax's whole range is usually attained 12 to 18 inches from the horn.
5 - Close Saxophones advice Electro-Voice RE20 or Coles 4038 or Sennheiser MD 421close, 12-18 in
Personal favorites include the Neumann U 87 condenser, the Electro-Voice RE20 dynamic, and the Coles 4038 ribbon (saxophones in general). ... You can't go wrong with a Sennheiser MD 421 (saxophones in general).
5 - Close Saxophones advice Shure SM58close
Some of my most cherished sax sounds were recorded with a Shure SM58 (saxophones in general).
5 - Close Saxophones advice Neumann U 87 or Electro-Voice RE20 or Coles 4038 or Sennheiser MD 421 or Shure SM58close
Personal favorites include the Neumann U 87 condenser, the Electro-Voice RE20 dynamic, and the Coles 4038 ribbon (saxophones in general). ... You can't go wrong with a Sennheiser MD 421 (saxophones in general). ... Some of my most cherished sax sounds were recorded with a Shure SM58 (saxophones in general).
5 - Close Saxophones advice large-diaphragm cardioid condenser (type only)distance, about 1 ft from the bell, 45 degrees up; or a second mic about 6 in below the bell
One foot from the bell at about 45 degrees up; or two mics, one above the keys and one below the bell (paraphrase).
6 - Named, no placement given Saxophones advice Royer R-121comparison, Albini against the Coles 4038
Albini compared the R-121 and Coles 4038 on saxophone on a demo CD (page gives no verdict).
7 - Named, no placement given Saxophones advice Coles 4038comparison, Albini against the R-121
Albini compared the R-121 and Coles 4038 on saxophone on a demo CD (page gives no verdict).
7 - Close Saxophones advice large-diaphragm condenser, cardioid (type only)distance, 18 in, aimed just below the middle of the body
Large-diaphragm condenser about 18 inches away, aimed just below the midpoint (paraphrase).
8 - Close Saxophones advice large dynamic (type only)distance, 18 in, aimed just below the middle of the body
Large dynamic microphones offer a fuller, softer alternative (paraphrase).
8 - Close Saxophones advice close mic at the bell (type only)close, very close to the upturned bell, pop style
In pop music sax mics sit very close to the upturned bells, for a bright, raspy sound (paraphrase).
9 - Close Saxophones advice condenser or ribbon (type only)distance, about 18 in, over the bell aimed at the middle of the keys
Both condenser and ribbon mics do a good job; aim over the bell at the middle of the keys (paraphrase).
10
On stage
Clip-on
- DPA 4099 CORE+1 source from its own maker
- Shure PGA98H1 source from its own maker
Close
- DPA 4011ES (variant of the DPA 4011A)1 source from its own maker
- Shure SM1371 source from its own maker
The 4 setups behind this: placement and quotes
- Clip-on Saxophones advice DPA 4099 CORE+clip-on, on the bell (saxophone clip STC4099)
4099 CORE+ with the STC4099 saxophone clip listed as the directional instrument option.
1 - Close Saxophones advice DPA 4011ES (variant of the DPA 4011A)close, beside the bell, for isolation on a noisy stage
Directional (cardioid) mics isolate the sax from stage noise but bring proximity effect (paraphrase).
1 - Clip-on Saxophones advice Shure PGA98Hclip-on, a few inches from the bell
A few inches from and aiming at the bell gives a bright sound with reduced feedback and leakage (paraphrase).
11 - Close Saxophones advice Shure SM137close, a few inches from the bell
The sax is like the human voice, so a shaped-response (vocal) mic works well (paraphrase).
11
Sources
- DPA Mic University: How to mic a saxophone
- Cafe Saxophone: Recording saxophones (Pete Thomas, 2025)
- HomeRecording.com forum: Which microphone to studio record a saxophone?
- Production Expert: Free woodwind and sax recording techniques (2020)
- Recording Magazine: Miking Brass and Winds
- Recording Magazine: Miking the Horn Section
- Royer Labs library: Steve Albini microphone comparisons
- Sound On Sound: Q. How do I mike up woodwind instruments? (Hugh Robjohns, Nov 2003)
- Sound On Sound: Q. How do I record brass in the home studio?
- Yamaha Hub: Recording Acoustic Instruments, Part 3
- Shure: How to Choose the Best Mics for Brass, Wind, and String Instruments
- Wikipedia: Saxophone (written range, transpositions, high F#, low A on baritone)
- MTG Solo Saxophones (Music Technology Group, UPF, via Freesound; SFZ by kinwie), CC BY 4.0; own FFT analysis
- Representative noise levels table with orchestra noise guidance (UK Sound Advice material)
- Sengpielaudio (UdK Berlin): Stoerquelle - Musikinstrument? (maximum sound power of instruments)