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Selmer Balanced Action Alto Mouthpieces

The Selmer Balanced Action is a classic vintage alto saxophone from the 1930s–1940s (produced roughly 1936–1947), known for its warm, resonant tone, excellent intonation, and balanced keywork that was revolutionary at the time. It's a French-made Selmer horn prized by collectors and players for its dark, vintage character—often described as having a rich, complex timbre with great projection and flexibility.


Mouthpiece choice depends heavily on your playing style (e.g., classical, jazz, big band), embouchure, reeds, and personal sound goals. Vintage horns like the Balanced Action pair well with mouthpieces that complement their inherent warmth without making them too dark or resistant.


Recommended mouthpieces 


Classical/Concert Band Focus

These emphasize control, centered tone, and blend—ideal if you're playing in ensembles or seeking a refined, even sound.


  • Selmer S80 C* (tip opening ~1.55 mm): One of the most popular and widely regarded "reference" mouthpieces overall. It delivers a warm, full, grained tone with excellent projection and control. Often recommended for vintage Selmers like the Balanced Action or Mark VI equivalents due to its balance and reliability. Many players (including pros) use this as a go-to for classical or versatile playing.


  • Selmer Concept (single opening ~1.52 mm): A modern, high-precision Selmer design with a round chamber for richness, ease of response, and consistency across registers. It's praised for classical playing on vintage horns—offering a focused, projecting sound with less effort than some older models.


  • Selmer S90 (e.g., 170 or C* equivalent): Described as "universal" with direct, homogeneous sound, great flexibility, and stability in high registers. It suits the Balanced Action's natural warmth well for balanced, supple playing.


Jazz/Lead/versatile Focus

These add brightness, projection, or edge while retaining the horn's vintage soul.


  • Meyer 5M, 6M, or similar (hard rubber): A classic "industry standard" for alto jazz—warm yet focused, with good control. It pairs excellently with vintage Selmers, enhancing their dark tone without overwhelming it.

  • Selmer Soloist (vintage or modern Style E): Often mentioned alongside Meyer for medium-dark to bright versatility on Selmer altos.

  • Selmer Jazz Flow (newer model): Selmer's modern jazz-oriented piece with expressive malleability and comfort—some players test it on vintage horns for a contemporary edge.


Other strong contenders from comparisons and forums include Vandoren V16 (A6M or similar for jazz/classical blend), Otto Link Tone Edge (vintage rubber for classic jazz warmth), or custom options like RPC if you're chasing something specific.


Key tips:

  • Start with moderate tip openings (around .060–.070 inches or equivalents like 5–6*) for control on alto—vintage horns can feel "alive" but sometimes resistant with too open a piece.

  • The best match is personal—try before buying if possible (many shops let you test). Reeds (e.g., Vandoren Traditional 3–3.5 or Java) and ligature also play a big role.


  • Vintage Selmers like the Balanced Action often shine with Selmer's own mouthpieces (S80/S90/Concept) for tonal synergy, as they're from the same heritage.


Famous Players


  • Coleman Hawkins, who helped popularize the Balanced Action through his influential 1939 recording of "Body and Soul" after returning from France.

  • Charlie Parker (Bird), though he is more famously linked to a King Super 20 alto in his later years, played various Selmer models earlier and is sometimes associated with the era's Selmer horns in discussions of his setup evolution.

  • Paul Desmond, known for his cool, airy tone with the Dave Brubeck Quartet, played a Selmer Balanced Action alto.

  • John Coltrane, who used a Selmer Super Balanced Action alto early in his career before switching to tenor (and later to a Mark VI).

  • Other notable jazz figures linked to the Super Balanced Action alto include players like Ornette Coleman (in limited contexts) and Hank Mobley, with the model praised for its warm, rich tone and responsive keywork.


Modern players who favor vintage Super Balanced Action altos include Joshua Redman, Mark Turner, Seamus Blake, and Chris Cheek, who appreciate its poignant, inflective qualities compared to later models like the Mark VI.


Regarding mouthpieces and facings used by these artists (specific to their alto playing on or around the Balanced Action/SBA era):

  • Charlie Parker primarily used a rare gold-plated metal Selmer mouthpiece from the London Selmer branch (often called the "Selmer London ff" or "40ff40" model) in his later years, with a relatively open facing (around a D4 or similar, measuring about .070"). Earlier, he experimented with pieces like Brilhart Ebolin (hard rubber), Runyon Model 22, and even a Selmer metal mouthpiece.


  • Many players of that vintage era (including those on Selmer Balanced Action/SBA) favored hard rubber mouthpieces like Otto Link (various facings, often medium to open for jazz projection) or Brilhart models. Classical or earlier players sometimes used Selmer's own hard rubber Soloist or metal "Master-Metal"/"Classic" lines in closer facings like C* (medium close, around 1.70–1.80 mm tip opening with medium facing length).


  • Specific facings for alto on these horns varied widely by personal preference—closer facings (e.g., C or C*) for control and classical leanings, or more open (D–F range) for bebop-era power—but no single universal facing dominated, as players often had mouthpieces refaced or customized.


These horns remain sought-after for their buttery action, volume, and vintage tonal character.

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