Selmer Balanced Action Tenor Mouthpieces
- Grey Stone
- Jan 13
- 4 min read
The Selmer Balanced Action (often called Balance Action) tenor saxophone, a vintage model from the late 1930s to mid-1940s, is prized for its warm, dark, and expressive tone, especially in jazz contexts. Mouthpiece choice greatly influences how it responds—vintage horns like this often pair well with pieces that emphasize roundness, core, and control without excessive brightness.
Vintage Recommendations
These draw from the era's popular designs, often favored for their compatibility with the horn's acoustics and the classic jazz sound associated with players from that period:
Selmer Soloist (original 1940s-1950s versions): A classic hard rubber piece with a medium chamber and rollover baffle, offering focused warmth, good projection, and versatility for both jazz and more lyrical playing. Many consider it a natural match for early Selmer tenors.
Otto Link (early Florida or "straight signature" hard rubber models, like a 7* or similar): Frequently praised on vintage Selmers for delivering a rich, dark tone with excellent response and that iconic vintage jazz character.
Selmer Air Flow (short shank predecessor to the Soloist): Sometimes supplied originally with Balanced Action or similar models, providing a balanced, medium-dark sound with a small rollover baffle.
Vintage pieces like these can often be refaced for modern playability while retaining their core character.
Modern Recommendations
Contemporary options that complement the Balanced Action's vintage vibe, often highlighted for good intonation, balance, and a warm/dark lean:
Selmer Jazz Tribute (metal, e.g., 7* opening): Designed to evoke golden-era jazz legends while using modern engineering; it delivers a balanced, round timbre with density and clarity. Reviewers note excellent matches on Super Balanced Action (close relative) tenors, suggesting strong compatibility here for a vintage-inspired yet refined sound.
Selmer Soloist (current reissue): Inspired by the 1940s/1950s originals, machined from hard rubber with a nice chamber for direct volume, warmth, and centering—versatile for jazz or classical-leaning tones on vintage horns.
Selmer Concept: A modern hard rubber design with high acoustic precision, offering richness, consistency across registers, and a balanced/flexible response. It's praised for control and evenness, suiting players seeking refinement on older Selmers.
Other strong contenders often mentioned in similar vintage Selmer discussions include Theo Wanne models (like larger Slant Signatures for depth) or Meyer hard rubber pieces for round warmth, though Selmer-family options tend to integrate most seamlessly with the horn's heritage sound.
Ultimately, the best fit depends on your desired tone (e.g., darker/vintage jazz vs. more projection), reed/reed strength preferences, and playing style—trying several in person is ideal, as vintage horns can be particular about facing curves and chambers. Many players gravitate toward medium-to-medium-open tip openings (around .090–.105 range) for balance on these instruments.
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.
Famous Players
Coleman Hawkins — Widely regarded as the father of the jazz tenor saxophone, he adopted a Selmer Balanced Action after returning from Europe, helping popularize it with his iconic 1939 recording of "Body and Soul." His powerful, robust style suited the horn's characteristics.
Ben Webster — The "Brute" of the tenor switched to a Selmer Balanced Action soon after its introduction, drawn to its improved action and tone for his warm, breathy ballad playing.
John Coltrane — In the early part of his career (before transitioning to the Mark VI), Coltrane played a Selmer Super Balanced Action tenor on some of his most influential early recordings, appreciating its sweeter, rounder qualities compared to later models.
Paul Desmond — Known for his cool, airy alto sound with Dave Brubeck, he also used Selmer Balanced Action models at times.
Other notable mentions include players like Jim Pepper (who owned a Balanced Action tenor) and some modern players like Chris Potter, who has used a late-1940s Balanced Action tenor (serial around 34128) for its distinct tonal traits.
Regarding mouthpieces and facings used by these artists on their Selmer Balanced/Super Balanced Action tenors:
Specific pairings are not always precisely documented for every player or exact period, but common choices from that era (1930s-1950s) leaned toward vintage hard rubber or metal mouthpieces that complemented the horn's warmer, vintage character.
Coleman Hawkins famously used an Otto Link metal mouthpiece (often a early or "Florida" era Link, with facings in the 7*-8 range or similar open tips like .100-.110+ for his big, projecting sound).
Ben Webster typically played an Otto Link hard rubber or early metal (slant signature style), with medium to open facings to achieve his dark, intimate tone.
John Coltrane, during his SBA period, used an Otto Link metal mouthpiece (early examples, often around 5* to 6* facings initially, evolving as his style developed).
In general, many players on these Selmer tenors paired them with Otto Link hard rubber (straight or slant signature models, facings 5*-7*) or metal versions for jazz versatility, as these were dominant in the mid-20th century. Some experimented with Berg Larsen or other vintage pieces, but Otto Link was especially prevalent among jazz tenor greats for its projection and warmth on vintage Selmers.
These combinations helped produce the rich, expressive sounds that made the Balanced Action family iconic before the Mark VI era took over.
These horns remain sought-after for their buttery action, volume, and vintage tonal character.
