It depends on what is being played. Music rich in the upper register needs a mic position pointed at the left hand area, more than the bell if you want the hissy stuff and key clack. If it’s jazz, then a bit further away so the left hand and bell is within its capture zone, and then maybe a bit of gentle LF boost. If the player is growling a lot and being clever, or doing screaming runs, then favour the right hand and bell area if you don’t want his actual voice to be heard.
so much depends on your room of course, so we cannot tell you what gain setting to pick, turn it up till you find the peaking level and back it off to give you headroom, and back off a bit more if the player is a bit, er, random.
you need to factor in the mechanics. Some saxes are very quiet, action wise. The pads open and close quietly. Others clack and clunk and some have sticky pads that make the strangest squelch when they open. If the sax has strong springs, then the sticky pads don’t open slowly, which happens on lighter actions. The players hate this and get them fixed. Strong spring saxes just incorporate this pad noise into their sound.
in general I start at about a foot away from the F position, then go up/down/in/out as required. You might find the C3000 a bit prone to spitty type noises so you might want to try miking from higher up, but looking down a bit more to get it out of the air draft.