Brad Delp’s vocal range is commonly estimated around C3 to B5 in Boston’s recorded catalog, with some fan analyses citing lighter upper extensions above that. Those exact endpoints should be treated as song-based estimates rather than formally verified measurements, but the core point is clear: Delp was a high, clean rock tenor with exceptional pitch

Bing Crosby’s vocal range spanned approximately G2 to F4 — just under two octaves — with a warm, light baritone instrument that jazz critic Gary Giddins described as having “a warm, attractively husky timbre” that Louis Armstrong likened to “gold being poured out of a cup.” By almost any statistical measure, Crosby was the most

Ben Platt’s vocal range spans approximately G2 to C5 in chest voice and mix, with a falsetto that extends the ceiling further — making him one of the more technically complete voices working across Broadway and pop simultaneously. He won the Tony Award for Best Leading Actor in a Musical at 23 for Dear Evan

Barry White’s vocal range spanned approximately E2 to G4 — a little over two octaves — with a bass-baritone instrument that sat at the darker, lower end of the male vocal spectrum. Over a career that produced more than 100 million records sold and a string of definitive 1970s soul and R&B hits, his voice

Avi Kaplan’s vocal range spans approximately Eb1 to D5 — around four octaves — with a lyric bass instrument that sits comfortably in the first octave, a register most singers can’t access at all. As the former vocal bass of Pentatonix from 2011 to 2017, and a Grammy-winning a cappella performer, Kaplan built his reputation

Audra McDonald’s vocal range spans approximately G3 to C6 — around two and a half octaves — with a lyric soprano instrument that is widely regarded as one of the finest in Broadway history. The holder of a record-breaking six Tony Awards, and the only performer to have won in all four acting categories, McDonald

Anthony Green’s vocal range sits at approximately C3 to C6, covering around three octaves — but the numbers alone don’t explain why his voice is so distinctive. The Circa Survive and former Saosin frontman has one of the most immediately recognizable voices in post-hardcore: a high, light tenor timbre that carries an almost boyish quality

Anna Kendrick’s vocal range sits at approximately F3 to E5, covering just over two octaves, with some analysts noting extensions up to B5 in her upper head voice. She’s classified as a soprano — specifically the lighter, lyric end of the spectrum — and her technique leans heavily on a well-integrated mixed register rather than

Ann Wilson’s vocal range spans roughly E3 to E6, covering approximately three octaves. She is most commonly classified as a dramatic mezzo-soprano, though her upper register and sheer power have led some analysts to place her closer to a dramatic soprano. Either way, she ranks firmly among the most capable rock vocalists ever recorded. As

Andrea Bocelli is an Italian classical-crossover singer widely recognized as one of the most famous tenors in the world. His voice type is a lyric tenor, and across his recorded repertoire his working range spans roughly three octaves, combining operatic technique with a warm, intimate pop-ballad delivery on songs like “Time to Say Goodbye (Con