Selmer Super Balanced Action Alto Mouthpieces

The Selmer Super Balanced Action (SBA) alto saxophone, a legendary vintage horn from the late 1930s to early 1950s, pairs beautifully with mouthpieces that complement its dark, rich, complex tone and excellent projection without overpowering its inherent warmth.

Vintage Recommendations

Vintage options from the era often shine on the SBA due to similar design philosophies and materials.

The classic short-shank Selmer Soloist (often in C* or slightly opened to D/E equivalents) stands out frequently in player discussions for its focused core, versatility from medium-dark to brighter colors, and excellent match with the horn's character—many players consider older short-shank versions superior to later long-shank ones for response and tuning on SBA altos.

Original Selmer Soloist Style pieces from the Balanced Action/Super Balanced Action period are prized for their tight, centered sound with potential for both dark warmth and edge depending on the specific example and baffle/rollover variations.

Other period-correct vintage picks include early

Otto Link Tone Edge hard rubber models (around 6* to 7* equivalents for alto), which deliver a warm, round jazz tone with good projection that suits the SBA's vintage vibe, and occasionally

Meyer hard rubber pieces (like NY-era 5M to 7M) for a balanced, slightly brighter medium-dark sound that's forgiving and blends well.

Modern Recommendations

For readily available modern options that work exceptionally well:

• Vandoren V16 (often A6M or similar medium chamber) is praised by SBA owners for great results—warm yet projective, though it can lean slightly bright on some horns.

• Selmer Soloist (current reissue, often in C** or D facings) captures much of the vintage Soloist spirit with a focused, expressive tone and good flexibility across styles.

• Meyer hard rubber (5M to 7M range) remains a timeless, reliable choice for medium chamber warmth and control, frequently recommended as a safe, versatile fit regardless of Selmer model.

• Selmer S80 (C* facing especially) or S90 for a more classical-leaning, balanced, homogeneous sound with excellent stability and suppleness—very direct and flexible.

  
  

• For something more contemporary with jazz leanings, the Selmer Concept or Jazz Flow can bring refined richness and projection while maintaining compatibility with the SBA's darker tendencies.

Famous Players

• John Coltrane — He played a Selmer Super Balanced Action alto early in his career before primarily switching to tenor and the Mark VI. (Note: Coltrane is more iconic on tenor, but he did use Selmer altos including the SBA period.)

  
  

• Paul Desmond — Associated with Selmer Balanced Action/Super Balanced Action lineage for his cool, airy alto tone (though he later used other Selmers).

  
  

• Cannonball Adderley — Played Meyer NY hard rubber (ebonite) in a #5 tip opening (medium chamber) for his bright, soulful tone; easy-blowing and versatile on vintage Selmers like the SBA/BA style.

  
  

• Dexter Gordon — Linked to Selmer SBA though more famous on tenor.

  
  

• Hank Mobley — Favored Selmer SBA altos for their rich sound.

  
  

• Ornette Coleman — Occasionally linked to Selmer models from this era, including low A variants.

  
  

• Modern/ongoing users — Players like Joshua Redman, Mark Turner, Seamus Blake, and Chris Cheek have used or favored vintage SBA altos for their poignant, inflective qualities and expansive sound (Redman notes it's more vulnerable and less focused than a Mark VI).

Other names sometimes mentioned in connection with Selmer SBA-era altos include Ben Webster (who upgraded to Balanced Action/SBA styles) and various bebop/hard bop figures.

Regarding mouthpieces and facings, specific pairings with the SBA alto are less exhaustively documented than for later horns, as many players experimented or used what was common in the 1940s–1950s jazz scene.

The SBA often pairs well with classic hard rubber or metal pieces for its darker, resonant character. Known or typical associations include:

• Charlie Parker — While primarily on Conn 6M or King Super 20 altos, he used a rare gold-plated Selmer (London branch) metal mouthpiece in ff40ff facing (around D4, tip ~0.070") on some recordings and setups; not directly tied to SBA but shows Selmer metal facings in that era. (He occasionally tried Selmer pieces.)

  
  

• Sonny Stitt — Often used Otto Link (metal or hard rubber, like Double Ring or Tone Edge in 6–7* ranges) or Meyer pieces on alto (and matching on tenor); he played SBA altos in some periods, favoring Links for projection.

  
  

• General era trends — Many SBA players used Selmer's own hard rubber mouthpieces like the Soloist (C*, D, E facings; C* closed for control, E more open for jazz edge), early Otto Link Tone Edge (hard rubber, 5–7 openings), Meyer 5–6MM, or metal Links/Dukoffs for brighter projection. Modern SBA users often pair with vintage Otto Links (7 or 7*), Vandoren V16, or refaced classics.

  
  

The SBA's darker, more vulnerable tone often shines with medium-to-open facings on hard rubber pieces, avoiding overly bright or resistant setups unless pushing for volume. Exact setups varied by player preference, reed strength (often medium like Rico 2–3.5 or La Voz), and alterations by techs.

Ultimately, the SBA rewards experimentation since individual horns vary slightly in response. Tip openings around medium (e.g., equivalents to 6–7 on many scales) with moderate reeds often yield the best balance of warmth, intonation, and playability. Trying several in person is ideal to find what sings best with your specific SBA.