06/14/2026
Every saxophone that comes through my shop is approached with the same goal: to make the instrument as reliable, responsive, and musical as possible.
Some instruments, though, carry a history that makes the process especially meaningful.
This 25,### Selmer Balanced Action tenor is one of them.
Built in the late 1930s, this horn comes from one of the most important periods in Selmer’s history. The Balanced Action helped move the saxophone toward the modern layout and feel that would influence generations of professional instruments after it. This particular tenor is also in remarkable condition, still paired with its original case, and carries the kind of history that makes an instrument feel significant before a note is ever played.
The main concern with this horn was consistency. It had been sitting for roughly 20 years before its new owner acquired it. The pads were, for the most part, in very good condition, but as the horn was played more, the old timing materials began to fail and fall away. When the materials controlling key height, timing, noise, and feel can no longer be trusted, the consistency of the entire setup comes into question.
The horn was completely disassembled and carefully cleaned. It did not need aggressive polishing or unnecessary cosmetic work. It needed dust removed, the finish brought back to life, and the instrument treated with the restraint that vintage instruments deserve.
All new timing materials were installed with careful attention to longevity, sound dampening, key bounce control, and feel under the fingers. These are small details, but they are not minor details. The right material in the right place affects how the horn feels, how quietly it moves, how consistently it responds, and how confidently the player can trust it.
The neck also needed very careful attention.
The neck is one of the biggest contributors to the sound, response, and character of a saxophone. This neck had suffered from pull-down, which happens when the neck angle is pulled downward over time. This can happen when a mouthpiece is installed while the neck is on the horn, or when pitch is adjusted without enough care. On a vintage neck, that kind of damage has to be corrected slowly and carefully.
There was already some lacquer scarring from the original damage, so the goal was to correct the neck angle and re-round the dimensions of the neck without making the cosmetic damage worse. That kind of repair requires restraint. The goal is not to force the metal back into place. The goal is to restore the function of the neck while preserving as much of the instrument’s originality and character as possible.
To further dial in the consistency and playability of this tenor, the G #, F #, and F pads in the right hand were replaced. The existing pads were going to be difficult to adjust reliably, and I was concerned that leaving them in place would mean continuing to fight the same problems later.
If a part of the setup cannot be trusted, it does not meet the standard. That is true whether the instrument is a student horn, a daily professional player, or a collector-quality Selmer.
After that, every pad was adjusted and the horn was brought through a detailed setup.
The result is a tenor with a beautifully colorful sound and just the right amount of resistance. It is one of those horns that lets you keep pushing, and the sound keeps giving without spreading or becoming harsh. It feels stable, responsive, and alive in the hands.
A saxophone should not merely function. It should perform.
That is the standard I want every saxophone leaving my shop to represent.
