I still remember the first time I uncased a henri selmer 80 super action serie ii and realized just how much a horn can actually change your sound. It wasn't just about the name on the bell, though let's be honest, seeing that "Paris" stamp does something to your ego. It was the way the keys felt under my fingers—crisp, snappy, and like they were exactly where they were supposed to be. If you've spent any time in the saxophone world, you know this model is basically the industry standard, and there's a very good reason it stayed in production for decades without major overhauls.
Why this horn stuck around for so long
In a world where tech and gear seem to change every six months, the henri selmer 80 super action serie ii is a bit of an anomaly. It was introduced back in 1986, taking the baton from the original Super Action 80. While other brands were constantly chasing the next "innovation," Selmer Paris hit a sweet spot with the Series II that just worked. It became the workhorse for classical players, jazz cats, and students who finally decided to get serious.
The thing about the Series II is its versatility. It doesn't try to force you into a specific "vibe." If you want to play a dark, lush ballad, it'll go there with you. If you need to bark in a funk band, you just push a little more air and it responds. It's got this incredible balance of resistance and projection that makes you feel like you're actually in control of the instrument rather than fighting it.
That classic Selmer sound profile
When people talk about the "Selmer sound," they're usually talking about a centered, rich core with a lot of harmonic complexity. The henri selmer 80 super action serie ii nails this. It's not as "spread" as some of the vintage American horns, but it's also not as laser-focused or bright as some of the modern Japanese competitors. It sits right in that Goldilocks zone.
One of the biggest selling points for the Series II is the tuning. Ask any saxophonist about the struggles of the high-end or the middle D, and they'll give you a laundry list of complaints. But on this horn, the intonation is remarkably consistent. You don't have to do as much "lip gymnastics" to stay in tune with the piano. This is probably why it became the absolute go-to for conservatory students. When you're playing a concerto, the last thing you want to worry about is whether your high F# is sharp enough to peel paint off the walls.
Ergonomics and how it feels to play
Let's talk about the action for a second. The "Super Action" name isn't just marketing fluff. The keywork on a henri selmer 80 super action serie ii is famously tight and ergonomic. Selmer was the pioneer of the modern key layout that almost every other manufacturer copied, and the Series II is the peak of that evolution.
The left-hand pinky table (those pesky G#, C#, B, and Bb keys) is incredibly smooth. On cheaper horns, moving between those feels like trying to operate a rusty gate, but on the Series II, it's fluid. The spring tension is usually set just right from the factory—not too mushy, not too stiff. It gives you enough feedback so you know you've pressed the key, but it's fast enough to handle those crazy bebop lines without lagging behind your fingers.
Another thing I've noticed is the weight. It feels substantial. It's not a "light" horn by any means, thanks to the ribbed construction where the posts are soldered to a long strip of brass before being attached to the body. This adds some weight, but it also adds to the resonance and durability. It feels like you're holding a serious piece of machinery.
The difference between the Alto and the Tenor
While the henri selmer 80 super action serie ii was produced across the whole family—soprano, alto, tenor, and baritone—the alto is arguably the most famous of the bunch. It's the quintessential classical alto. Most of the big names in the classical saxophone world have spent a significant chunk of their careers on a Series II. It has a "sweetness" in the upper register that's hard to find elsewhere.
The tenor, on the other hand, is a bit of a beast. It's got a big, thick sound, but it maintains that signature Selmer focus. Some jazz players find it a bit "polite" compared to a vintage Mark VI, but that's nothing a high-baffle mouthpiece can't fix. The tenor Series II is an absolute tank. I've seen some of these horns that have been gigged hard for 30 years, covered in scratches and dings, and they still play better than a brand-new "budget" professional horn.
What to look for if you're buying one
If you're looking to pick up a henri selmer 80 super action serie ii today, you're probably looking at the used market since the Series III and Supreme have taken the spotlight in recent years. But honestly, buying a used Series II is often a smarter move for your wallet.
First off, check the serial number. While they're generally consistent, some players swear by the "earlier" ones from the late 80s or early 90s. Personally, I think a well-maintained horn is a well-maintained horn regardless of the year. The most important thing is the pads. If the leather is dried out or the resonators are falling out, you're looking at a $800+ overhaul.
Also, look at the neck. The neck is the "soul" of the saxophone. If it's been pulled down or has a bunch of dents, it'll mess with the intonation and response. A lot of players actually "upgrade" their Series II by putting a Series III neck or a solid silver neck on it, which can open up the sound a bit. But for me, the original neck has a charm that's hard to beat.
Is it still worth it today?
With so many boutique brands and newer Selmer models out there, is the henri selmer 80 super action serie ii still relevant? Absolutely. In fact, it might be more relevant now than ever. It's the "reliable" choice. It's the horn you buy when you're tired of gear-chasing and you just want something that works every time you open the case.
It's got a soul to it that's missing from some of the more "perfect" modern horns. It has a bit of resistance that gives you something to "blow against," which helps in shaping your tone. Plus, they hold their value incredibly well. If you buy a used Series II today and take care of it, you can probably sell it for exactly what you paid for it five years from now. You can't say that about many things these days.
Ultimately, the henri selmer 80 super action serie ii is a legend for a reason. It's not trying to be a vintage throwback, and it's not trying to be a futuristic gadget. It's just a great, solid, professional saxophone that lets the player do the talking. Whether you're sitting in the back of a big band or standing in front of an orchestra, it just fits. If you ever get the chance to spend a few hours with one, take it. You'll see exactly why it defined the sound of the saxophone for over three decades.